635 Sentences With "weft" | Random Sentence Generator

It's built like blinds, columns of knit bent around the weft, and all the weft yarns are flat.

So is the laying of a warp and a weft.

Looking at the meticulous weft circumscribing her figures, it's no wonder.

There are lengthwise, or warp, yarns and crosswise, or weft, yarns.

Warp + Weft is primarily known for making ultra-comfortable denim under $100.

A "small slither of hair weft" from a floor in Brighton, England.

The weft of these transactions gradually sutured individuals into a single, inescapable self.

You'll find familiar faces like Levi's along with relative newcomers like Warp + Weft.

Read more: Warp + Weft makes women's jeans in sizes 00-24 for under $100

End-on-end features contrasting warp and weft threads that create a heathered look.

Pros: Inclusive sizing (00 to 24), incredibly soft denim, wide selection of styles and washes, affordable price pointCons: If you prefer a more traditional raw denim feel, the softness of Warp + Weft may be a bit muchShop Warp + Weft jeans for women

You peel off a clear sheet from the weft and apply it to the hair.

Kylie's weft was about 400 grams, which I typically sell for between $6000 and $8000.

Shop Warp + Weft jeans hereFounded by Sarah Ahmed, Warp + Weft has made an impact on the apparel industry with its ultra-inclusive range of sizes and inseams, but it's also touted as the world's cleanest vertically integrated denim company (meaning it owns its own factory).

You can also purchase a bond-removing solution to loosen up the weft from your scalp.

The hair I left out just covers the weft, so that you don't see the extensions.

Best to remain narcotized and between the Zen warp and weft of high thread-count sheets.

It was an extremely general statement that tried to characterize the warp and weft of rational approximation.

There's always a lot of warp and weft in the interaction between the writers and the cast.

National parliaments are reckoned to have a greater feel for the weft and warp of citizens' political preferences.

Also promising is denim newcomer Warp + Weft, which makes its full line of jeans in sizes 00 to 24.

The Warp + Weft MXP High-Rise Jeans are affordable, produced with ethical, environmentally-friendly methods, and fit like a glove.

But, the sizing and prices aren't the only elements that make Warp + Weft different from the labels you know and love.

Instead, she allowed the fiber to form a generative syntax of its own through its warp, weft, bulk, heave, drape, and knots.

A wall displayed other materials and fabric Ms. Morris had created with young visitors: She does the warp; they weave the weft.

I used the tail of the comb to carefully divide my hair and lightly back combed the spot where the weft would stay.

Ms. Gerbase designs down to the warp and weft, developing custom fabrics that she leaves on her show seats like ribbon-tied gifts.

But newly-launched Warp + Weft is here to redefine jeans for both men and women, from production and pricing to sizing and design.

Our parents lamented childhood's fall from 219s innocence; we worry that our children aren't getting to experience the warp and weft of life.

She loved the English canon, hated its implacable maleness and wove that love and hatred into the warp and weft of her masterpieces.

There might be freedom and love and audacity in the weft of our national fabric, but hate and bigotry are in the warp.

Those with shorter hairstyles need not feel left out — just grab a ponytail extension or basic hair weft to beef up your bun fast.

So, or: injected linen, which somehow inserts a linen weft—the side-to-side part of a woven fabric—into a polyester knit warp.

Warp + Weft answered with an underwear design that you can't detect under jeans, or any other type of bottom or dress for that matter.

This simple gesture — passing a weft thread through a base of stable warp threads — is the same for every piece of cloth ever woven.

Paintings and silk-screen prints from the '60s and '70s pick up the superform and the warp and weft patterns of Mr. Bayrle's weaving years.

With heft and weft, she is equally expressive — formally, psychologically, and spiritually — at addressing pear trees and eggs, darkness and light, bugs and the bible.

If this same trick is applied to the weft direction of the fabric, a 400 thread count sheet suddenly becomes 1200 thread count in marketing lingo.

With sizes ranging from 00 to 24, Warp + Weft skinny jeans offer a wide spectrum of trendy and classic styles for every kind of body type.

It might have started as an ode to a garden in East Sussex, but implicit in the weft was a reminder: This is one way we remember.

Secure the end of your weft or ponytail with a bobby pin, then wrap the base of the hair around the bun, securing with pins as you go.

" As Knight wrote to me: "If racism is woven into the fabric of American society, then it is the very warp and weft of threads which constitutes porn.

He eschewed external decoration for internal integrity, weaving pattern and adornment into the weft of the garment itself in ways that were almost undetectable to the outside eye.

Since I don't use much product on my extensions, I focused primarily on the scalp by lifting each weft of hair and spraying the mixture directly at the roots.

"These are clips, they are a form of extension that you clip into your hair," she says, holding up a weft of hair with a clip attached to it.

Everywhere else, the household object is asserted and reasserted through the warp and weft of linen rendered through precise, surgical cuts that have become one of the artist's signature improvisations.

See, for example, a bias-cut gown in heavy silk satin with the weft running in two different directions, so some of the fabric looks glossy and other bits matte.

Oh, and there were shrunken lacy rashguard cocktail minis and wide cropped khakis, leather biker shorts and rough-weft sequined dresses made with the throwaway carelessness of a T-shirt.

I guess, in a 15 X 15 square like this, you could be reminded of weaving, with a continuous weft (or woof) line running back and forth to make fabric.

The $98 Warp + Weft JFK Skinny Jeans earn our vote for the wide range of sizes and inseam lengths they come in, combined with superior fit and quality for the price.

Warp + Weft denim is designed to give you the best possible fit and the JFK Skinny Jean combines a sleek, form-fitting silhouette with an impressive 00 to 24 size range.

After testing the best new skinny jeans, Warp + Weft got our vote for best overall with its vast size offerings, various inseam lengths, sub-$100 prices, and different skinny jean styles.

"Form in Contortion Over Weft" (1966) is part painting, part sculpture, part machine, with several curvy, black-and-white-striped upright forms shimmying against a striped ground with which they rhythmically merge.

I already love affordable, high-quality denim brands like Warp + Weft and Liverpool, so these days it&aposs difficult to convince me to pay more than $100 for a pair of jeans.

Either way, dockless bikes and their users enjoy enough freedom, and create enough disruption, to reveal desire paths, build new ones, and make permanent changes to the warp and weft of the city.

Full bias or straight along the weft, each section was marked up with notes and crossed with lines whose positions, directions, and overlapping points defined the structure and the construction of the garment.

Beaton's homes, Mr. Ginger posits, are more than backdrops: they are the warp to the weft of his love affairs with Peter Watson, Garbo and Kin Hoitsma, a Princeton graduate half Beaton's age.

It is only when you see it as a whole that you are at last able to recognize the patterns — the obsessions; the questions — that you wove into its weft, sometimes only semiconsciously.

Our great and compelling and even everyday experiences are part of the weft and warp of the social fabric, so we are not nearly as singular and individuated as we are sometimes led to believe.

It is perhaps hard for people in the West, taught from an early age to see themselves as self-reliant individuals, to appreciate just how much country forms the warp and weft of their lives.

I love the thicker thread count that's found in high-quality cotton men's shirts, and the knowledge that the warp and weft will give me twice as much wear as flimsy tees from bargain stores.

In an age when Instagram and Snapchat and iPhones are part of the warp and weft of life's daily fabric, potential coders worry less that the job will be isolated, antisocial and distant from reality.

Off the Shelf: Modern & Contemporary Artists' Books continues through June 25; Timeless Weft: Ancient Tapestries and the Art of Louise B. Wheatley continues through July 30; and Front Room: Adam Pendleton continues through October 1.

It's also one of his most religious, urgent, and sometimes even uncomfortable, because of what it says — to everyone, but specifically to Christians in places where they're the majority — about the warp and weft of courage.

Today's grid almost looks like a piece of woven fabric with its six vertical stripes in the warp, and a very steady march of medium-length clues as the weft and the rest of the vertical fill.

Even though I didn't spend my childhood fussing with DOS like many did I can still see the appeal of all that digital pointillism lovingly rendering every weft of dark auburn hair and every pale, lacy ruffle.

The habits and habitat of the Swans of Fifth Ave is an interesting subject enough, but where the work really takes off is in how Trosch knits his figures into the warp and weft of his painting.

"Having been in the industry for a long time, I saw there was a gap where great-fitting, high-quality jeans were only available to a few, so I founded Warp + Weft to change that," she tells Refinery29.

Warp + Weft makes some of the most comfortable jeans I own, and with several beautiful styles, even more beautiful washes, and sizes ranging from 00 to 24, they're a great place to turn when replenishing your jean supply.

I liked the whole entry for IM NO FOOL, and got stuck on "warp" or "weft" for a "Shuttle setting" before realizing it was LOOM — a mechanism a bit like what we're working on today in this puzzle.

These looms can vary the tension in warp and weft in a way that does the job of the forming mould, creating sheets that reflect from the start the shape of the component of which they will become part.

These short epistolary portions alternate with longer chapters in which Waldy recounts the lives of his forebears, the Toula-Silbermann-Tolliver clan, a personal genealogy that turns out to be woven through the warp and weft of the 20th century.

A lot of people think it was a ponytail, but it was actually a weft, which is good when people are going really, really long because you have to have a lot of hair to have it look thick and long.

The weaver's legs work the calcola, or pedal, to throw the lancia navetta, or shuttle, back and forth at such speed that it is barely visible, while their arms pull the heavy wood cassa battente to press the weft together.

His fury over the mind-boggling injustice of lesser men and even their children thinking they had something over him because of nothing greater than the tint of skin and weft of hair was something I could not fully share.

It looks a bit like a carousel, several feet in circumference, except instead of wooden horses and swans spinning around, there are the warp threads, the long threads that extend the length of a piece of fabric (the weft runs the width).

She would send a bobbin of weft thread gliding across the horizontal surface of the remaining strings, strung taut in the loom's belly, before yanking a heavy hinged wood batten with metal teeth toward herself, locking each new row into the others.

Subtle brush strokes and hatch marks create patterns that resemble the warp and weft of textiles, and some of the paintings are reminiscent of work by Mark Tobey or Bradley Walker Tomlin — or, in their coloring, Robert Delaunay and Sonia Delaunay-Terk.

The everyday chatter — and such chatter is the warp and weft of "Jitney" — often involves getting and spending, the itemization of food and housing costs, of landing jobs with a criminal record, or where a body might find a bed that night.

From afar, many of the dresses and leather coats looked as if they had sprouted long, multicolored strings (there are a lot of strings around), which turned out to be the dangling yarns of sampler patterns worked onto the weft of the garment.

A Hidden Life is Malick's most overtly political film and one of his most religious, urgent, and sometimes even unsettling because of what it says — to everyone, but specifically to Christians in places where they're the majority — about the warp and weft of courage.

A Hidden Life is Malick's most overtly political film and one of his most religious, urgent, and sometimes even uncomfortable, because of what it says — to everyone, but specifically to Christians in places where they're the majority — about the warp and weft of courage.

A Hidden Life is Malick's most overtly political film and one of his most religious, urgent and sometimes even uncomfortable because of what it says — to everyone, but specifically to Christians in places where they're the majority — about the warp and weft of courage.

And a green-blue thread roams through the cream-colored cascade of linen and silk that makes up Sheila Hicks's "Weft Wandering Astray" (1985) — a title that aptly reflects the show's throughline of threads meandering and crossing, much like the artists' collective experience making textile art.

And then you have Christoph Niemann, famed illustrator for the New Yorker, whose episode is shot in a very quiet, wry way, weft with his own illustrations, and cut in with b-roll that depicts his awkward ambling, his thought process, his very small-scale physical process of creation.

She was just out of Yale, where she studied with Josef Albers, and living in Mexico, where Luis Barragán helped install her first show, when the Museum of Modern Art acquired "Blue Letter," a double-sided woven panel on which she'd inscribed hieroglyphs by varying each row of weft.

Just imagine donning and walking down Fifth Avenue in K53, with its Pop-flavored explosion of giant chrysanthemums (the Japanese imperial emblem), or K46, a gem from around 1930 to 1940, whose abstract play of bold, wavy lines appears to have been painted onto its surface but in fact was painstakingly composed and dyed into the warp and weft threads of the garment's woven silk.

Here are the best black skinny jeans in 2019:Best black skinny jeans overall: Warp + Weft JFK Skinny JeansBest high-rise skinny jeans: Everlane High-Rise Skinny JeansBest stretch skinny jeans: Levi's 711 Skinny JeansBest plus-size skinny jeans: Universal Standard Seine High-Rise Skinny JeansBest petite skinny jeans: LOFT Petite Modern Skinny JeansBest high-end skinny jeans: Paige Transcend Verdugo Ultra Skinny Jeans

Franklin D. Roosevelt was many great things: our greatest economic president, pulling the United States out of the Depression; our greatest foreign policy president, leading the country to victory during World War II. But he was something else, too: our greatest environmental president, leaving a larger mark on the warp and weft of the American landscape, for good and ill, than any chief executive, before or since.

If the situation is not stable or sustainable, what I want to mention is if we did continue farther in— into an atom of the flesh or the metallic fabric of the fork, the micro-weft of the tablecloth, it would be more or less the same kind of utter emptiness— as at the heart of any restaurant there is this dead eye of the sea bass on your plate, its aureole lens, its lightless pupil sunk flush as a thumbtack holding the universe itself in place and I stare at it, and it stares back.

Weft ikat uses resist-dyeing for the weft yarns. The movement of the weft yarns in the weaving process means precisely delineated patterns are more difficult to achieve. The weft yarn must be adjusted after each passing of the shuttle to preserve the clarity of the patterns. Nevertheless, highly skilled artisans can produce precise weft ikat.

Traditional way of weaving jamdani Whether figured or flowered, jamdani is a woven fabric in cotton. This is a supplementary weft technique of weaving, where the artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds the intricate patterns to it. Each supplementary weft motif is added separately by hand by interlacing the weft threads into the warp with fine bamboo sticks using individual spools of thread.

The plates are bolted tightly together so that when they are immersed in the dye, the pressure of the raised points act as a resist. # : Weft yarns are woven on a warp of thick cotton yarn. The weft is beaten hard, which packs the weft tightly. When the cloth is dyed, much of the weft is protected from the dye by the heavy warp.

WEFT had its beginnings in 1975 as community members began work to create a new radio station. In 1980 WEFT began to broadcast on the local cable TV network and acquired studio space at 113 N. Market Street in Champaign. This location is still the WEFT operations base. On September 26, 1981 WEFT went on the air as an FM radio station broadcasting at 90.1 MHz.

Picks per inch/Inch (or p.p.i.) is the number of weft threads per inch of woven fabric. A pick is a single weft thread,"Pick." The Oxford English Dictionary.

Shot silk with a blue warp and pink weft. Man's shot silk suit, purple warp and green weft, c. 1790 (altered c. 1805). Los Angeles County Museum of Art.

Japanese weavers produce very accurate indigo and white weft ikat with small scale motifs in cotton. Weavers in Odisha, India have replicated fine Urdu alphabet in weft ikat. In Thailand, weavers make silk sarongs depicting birds and complex geometrical designs in seven-colour weft ikat. In some precise weft ikat traditions (Gujarat, India), two artisans weave the cloth: one passes the shuttle and the other adjusts the way the yarn lies in the shed.

The satin weave is characterized by four or more fill or weft yarns floating over a warp yarn, four warp yarns floating over a single weft yarn. Floats are missed interfacings, for example where the warp yarn lies on top of the weft in a warp-faced satin. These floats explain the high luster and even sheen, as unlike in other weaves, the light reflecting is not scattered as much by the fibres. Satin is usually a warp-faced weaving technique in which warp yarns are "floated" over weft yarns, although there are also weft-faced satins.

Additional classifications that are typically recorded by anthropologists can include the width of the strands, the number of strands being used together to form the warp or weft, the number of warp and weft rows per unit centimeter, and the width of the gaps in the weft rows. Methods of preparation, composition, and creation are also of great importance.

One of the tapestries in the series The Hunt of the Unicorn: The Unicorn is Found, circa 1495–1505, The Cloisters, Metropolitan Museum of Art, New York City Anonymous, Forest scene with Caphalus and Procris, Collection King Baudouin Foundation Tapestry is a form of textile art, traditionally woven by hand on a loom. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design.

Modern industrial looms can weave at 2,000 weft insertions per minute.

WEFT is a member of the National Federation of Community Broadcasters.

Diagram of Kilim slit weave technique, showing how the weft threads of each color are wound back from the color boundary, leaving a slit Kilims are produced by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. Kilim weaves are tapestry weaves, technically weft-faced plain weaves, that is, the horizontal weft strands are pulled tightly downward so that they hide the vertical warp strands."Carpets v. Flat-woven carpets: Techniques and structures", Encyclopædia Iranica Turkish kilim, folded to show slits between different coloured areas When the end of a color boundary is reached, the weft yarn is wound back from the boundary point.

A traditional rug being woven on a carpet loom On a knotted pile carpet (formally, a "supplementary weft cut-loop pile" carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.

In here it was wound on the winding machines, the warp threads were prepared on the warping machines, while the weft threads on the weft-winders. The interesting objects here are mechanical warping machine produced in Bielsko Georg Schwabe machine factory in the 1930s, and the weft- winder by G.Josephy’s Erben dating back to the beginnings of the 20th century. By the preliminary treatment mill one can also visit Master’s office who supervised his workers. In the Weaving Mill the warp and the weft were turned into textile by means of looms.

This laboratory is equipped with both warp and weft knitting machinery. The warp knitting machinery includes both the raschel and tricot machines, and the weft knitting machine include circular (single jersey, interlock, rib, jacquard) and flat knitting machines.

Initially WEFT was a less-than-1,000-watt station with the transmitter and antenna located atop a nearby hotel. In 1991 WEFT/Prairie Air Inc. purchased the building at 113 N. Market Street and within 9 years paid off the mortgage. In 1988 WEFT acquired a 10,000-watt transmitter and new broadcast antenna designed for a new transmission site located on a hill NW of Champaign.

There are two major varieties of knitting: weft knitting and warp knitting. In the more common weft knitting, the wales are perpendicular to the course of the yarn. In warp knitting, the wales and courses run roughly parallel. In weft knitting, the entire fabric may be produced from a single yarn, by adding stitches to each wale in turn, moving across the fabric as in a raster scan.

There are several primary means of classifying objects such as threads, textiles and baskets created with twining. The way that the weft rows are spaced can be defined as open, closed or a combination of the two. These terms identify the closeness of the weft rows to one another and variation in this intentional spacing. The way that the warp and weft are interconnected creates different compositional arrangements.

A diagram of the warp and weft threads in a gauze weaving pattern Gauze veil Tutu Gauze swab Gauze balls Gauze is a thin, translucent fabric with a loose open weave. In technical terms "gauze" is a weave structure in which the weft yarns are arranged in pairs and are crossed before and after each warp yarn keeping the weft firmly in place.Emery, Irene (1966). The Primary Structure of Fabrics.

The design is over 200 years old. The ikat is warp-based unlike most other ikats designed predominantly on weft. The labour-intensive double ikat [warp and weft] is their strength. The warp design requires linear tying of the silk yarn strands.

The mill was furnished with 91,680 mule spindles, divided into 26,784 twist spindles and 64,896 weft spindles, producing medium counts of average 32's twist and 42's weft. Most of the textile machinery was supplied by Platt Brothers and Co, of Oldham.

WEFT is operated entirely by volunteers. WEFT calls its on-air hosts Airshifters. The number of unique Airshifters hosting programs in a given week varies between 55 and 65 depending on program rotation. Training for new Airshifters is held typically twice per year.

Minerva Mill was used for spinning fine counts of Egyptian cotton, both twists and weft.

Tudor Mill was used for spinning fine counts of Egyptian cotton, both twists and weft.

During the process of weaving, fabrics can decrease in width (draw in) due to the interlacement of the weft material. Temples prevent this decrease by keeping fabrics at a fixed width, thus requiring more weft to enter the weave with each pass of the shuttle. Fabric produced without draw-in has a smoother selvage, weft can be packed in more evenly, and warp threads are less likely to break from excessive friction in the reed.

Z-yarn is placed in the through-thickness direction of the preform. In 3D orthogonal woven fabric there is no interlacing between warp and weft yarns and they are straight and perpendicular to each other. On the other hand, z-yarns combine the warp and the weft layers by interlacing (moving up and down) along the y-direction over the weft yarn. Interlacing occurs on the top and the bottom surface of the fabric.

The ikat pattern is clearly visible in the warp yarns wound onto the loom even before the weft is woven in. Warp ikat is, amongst others, produced in Indonesia; more specifically in Kalimantan, Sulawesi, and Sumatra by respectively the Dayaks, Torajans and Bataks.Bali by Michael Möbius, Annette Ster In weft ikat it is the weaving of weft yarn that carries the dyed patterns. Therefore, the pattern only appears as the weaving proceeds.

Weft ikats are much slower to weave than warp ikat because the weft yarns must be carefully adjusted after each passing of the shuttle to maintain the clarity of the design. Double Ikat is a technique in which both warp and the weft are resist-dyed prior to weaving. Obviously it is the most difficult to make and the most expensive. Double ikat is only produced in three countries: India, Japan and Indonesia.

The temporary weft is removed, and the warp is returned to the loom. The cloth is then woven with a plain weft. # : The warp is placed on a special printing board and printed with a block printing technique. The dyed warp is then woven.

An old bead loom. 1. Roller. 2. Roller end. 3. Spacers. 4. Spacers. When weaving on a loom, the beads are locked in between the warp threads by the weft threads. The most common bead weaving technique requires two passes of the weft thread.

Tapestry weave (tsuzure-ori) tapestry also was a popular technique as well as weft brocade (nishiki).

Kilim in contrast are woven flat, using only warp and weft threads. Kilim patterns are created by winding the weft threads, which are coloured, backwards and forwards around pairs of warp threads, leaving the resulting weave completely flat. Kilim are therefore called flatweave or flatware rugs. To create a sharp pattern, weavers usually end each pattern element at a particular thread, winding the coloured weft threads back around the same warps, leaving a narrow gap or slit.

Dual purpose, mule yarns: twist and weft- ring yarns, In 1915, it had 120,000 spindles by Platt.

An example of the twill weave pattern from a blanket in the collection of the Simon Frasier University Museum of Archaeology and Ethnology This type of weave, called SWOH-kwah-'tl, is used in the production of the largest blanket styles. The warp and weft are usually of the same material. The weft crosses the warp over two, under two, or over two, under one. At the edge the weft is turned back and woven across in the opposite direction.

Duck fabric is woven with two yarns together in the warp and a single yarn in the weft.

There are two basic varieties of knit fabric: weft-knit and warp-knit fabric. Warp-knitted fabrics such as tricot and milanese are resistant to runs, and are commonly used in lingerie. Weft-knit fabrics are easier to make and more common. When cut, they will unravel (run) unless repaired.

Evidence from certain important textiles displaying ancient iconography and significant in ritual, suggests that supplementary weft patterning techniques existed before the period of Indian influence in Southeast Asia. Nevertheless, there is no doubt that the earliest weaving decorations in the region was predominantly warp oriented. However a fundamental shift from warp to weft decoration seems to have occurred throughout many parts of Southeast Asia during the period of Indian influence. The development of weft ornamentation is evident in woven patterns found throughout Indianized areas.

Shot silk (also called changeant, changeable silk, changeable taffeta, cross- color, or "dhoop chaon" ("sunshine shade")) is a fabric which is made up of silk woven from warp and weft yarns of two or more colours producing an iridescent appearance. A "shot" is a single throw of the bobbin that carries the weft thread through the warp, and shot silk colours can be described as "[warp colour] shot with [weft colour]." The weaving technique can also be applied to other fibres such as cotton, linen, and synthetics.

The Web Embedding Fonts Tool, or WEFT, is Microsoft's utility for generating embeddable web fonts. WEFT is used by webmasters to create 'font objects' that are linked to their web pages so that users using Microsoft's Internet Explorer web browser will see the pages displayed in the font style contained within the font object. WEFT scans the HTML document file(s), the TrueType font file(s), and some additional parameters. It adjusts the HTML files and creates Embedded OpenType files for inclusion on the web site.

After each row of knots is created, one or more strands of weft are passed through a complete set of warp strands. Then the knots and the weft strands are beaten with a comb securing the knots in place. A rug can consist of 25 to over 1,000 knots per square inch.

These files usually use the extension '`.eot`'. WEFT can embed most fonts, but it will not embed fonts that have been designated as 'no embedding' fonts by their designers. WEFT may reject other fonts because problems have been identified. In the past, embedded fonts were widely used to generate non- English-language websites.

Terms vary (for instance, in North America, the weft is sometimes referred to as the fill or the filling yarn).

A two color warp background is also used which produces a blended color effect. An iridescent color effect can also be produced when the warp is one color and the base weft (as opposed to decorative motive weft) another.Akwete Cloth and Its Motifs, Marian Davis, African Arts Vol. 7, No. 3 (Spring, 1974), p.

By contrast, in warp knitting, one yarn is required for every wale. Since a typical piece of knitted fabric may have hundreds of wales, warp knitting is typically done by machine, whereas weft knitting is done by both hand and machine.(Spencer 1989:11–12) Warp-knitted fabrics such as tricot and milanese are resistant to runs, and are commonly used in lingerie. A modern knitting machine in the process of weft knitting Weft-knit fabrics may also be knit with multiple yarns, usually to produce interesting color patterns.

Invisible mending is a sophisticated weaving method consisting in rebuilding the fabric of a damaged garment or upholstery, following damage caused for example by a snag, burn, or accidental scissor cut. In such an incident, both the warp and the weft of fabric may have been damaged. Invisible mending is the reconstruction of both the warp and weft using a long needle. The mender garners the material for the repair by picking all the necessary weft from the hem, and the warp from the extra fabric on the inside of longitudinal seams.

Tucker Martine produced many of the albums including Carbon Glacier, Year of Meteors, Saltbreakers, July Flame, Tumble Bee and Warp & Weft.

Scalamandré Silks in 1995 for the White House Blue Room. The pattern is based on a c. 1816 French design. Lampas is a type of luxury fabric with a background weft (a "ground weave") typically in taffeta with supplementary wefts (the "pattern wefts") laid on top and forming a design, sometimes also with a "brocading weft".

The type of yarn in the fabric used is fine cotton. The thread in the warp has counts of 80S and 100S cotton while the weft has thread of count 2/80S. The extra weft used is of 2/80S mercerized. The weaving process involves two methods based on use of shuttles: fly shuttle loom and throw shuttle loom.

Take the top left (or top right) strand, and run it between the top and bottom rows, turning it into a weft. Reverse the position of each warp strand (from top to bottom or bottom to top), making sure to keep all strands in the same order and placement to form a single interlocked row. For the second row, take the new top left (or top right) warp strand, and tuck it between the top and bottom, forming a new weft strand. Again, interlink the top and bottom rows, making sure to use the old weft strand from row #1.

Flat-woven rugs are made by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. The technique of weaving carpets further developed into a technique known as extra-weft wrapping weaving, a technique which produces soumak, and loop woven textiles. Loop weaving is done by pulling the weft strings over a gauge rod, creating loops of thread facing the weaver. The rod is then either removed, leaving the loops closed, or the loops are cut over the protecting rod, resulting in a rug very similar to a genuine pile rug.

A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute. There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).

The warp on Ardabil rugs is mostly cotton, while the weft is either cotton or wool, although silk is also used as weft on fine Ardabil rugs. The weavers may also incorporate silk into the woolen pile in order to accentuate highlights in the pattern. Ardabil rugs include some widely known carpets: " Ardabil", "Sheikh Safi", "Sarabi", "Shah Abbasi" and "Mir".

There are three important silk textiles in Cambodia. They include the ikat silks (chong kiet in Khmer), or hol, the twill-patterned silks and the weft ikat textiles. Patterns are made by tying natural and synthetic fibers on the weft threads and then it is dyed. It is repeated for different colors until the patterns firm and cloth is woven.

Silk had to be thrown to make it strong enough to be used as organizine for the warp in a loom, or tram for weft.

Curzon Mill was used for spinning fine counts of twists and weft from Egyptian cotton. In 1911 it was spinning medium counts of American cotton.

In 2020, Toyota Industries was manufacturing two state-of-the-art looms: the JAT810 (air jet loom) and LWT810 (water jet loom). Both looms operate without shuttles. The water jet loom throws the weft through the warp threads using water, and thus can only be used with synthetic fibers. The air jet loom uses air to throw the weft, and thus can be use with any fiber.

The warp is then laid out on the loom and the cloth is woven in a loose balanced weave. The pattern is carried by both the warp and the weft. Great precision is needed at all stages of the production. Using a pick the weaver adjust the weft with each pass of the shuttle to make sure the alignment of the pattern is precise.

To create a patola sari, both the warp and weft threads are wrapped to resist the dye according to the desired pattern of the final woven fabric. This tying is repeated for each colour that is to be included in the finished cloth. The technique of dyeing the warp and weft before weaving is called double ikat. The bundles of thread are strategically knotted before dyeing.

Typically, hand-woven pile rugs are produced by knotting strings of thread individually into the warps, cutting the thread after each single knot. The fabric is then further stabilized by weaving (“shooting”) in one or more strings of weft, and compacted by beating with a comb. It seems likely that knotted-pile carpets have been produced by people who were already familiar with extra-weft wrapping techniques.

Italian silk polychrome damasks, 14th century. Damask (; ) is a reversible figured fabric of silk, wool, linen, cotton, or synthetic fibers, with a pattern formed by weaving. Damasks are woven with one warp yarn and one weft yarn, usually with the pattern in warp-faced satin weave and the ground in weft-faced or sateen weave. Twill damasks include a twill-woven ground or pattern.

Bobbinet tulle is constructed by warp and weft yarns in which the weft yarn is looped diagonally around the vertical warp yarn to form a hexagonal mesh which is regular and clearly defined. Bobbinet netting has a characteristic diagonal fabric appearance, is diagonally stable and slideproof, durable, sheer, the lightest bobbinet weighing no more than 6 g per m2 and has a high strength to weight ratio.

Edward J. Delaney (born 1957) is an American author. Delaney is the author of five books of fiction, the novels Warp & Weft (2004), Broken Irish (2011), and Follow The Sun (2018), and the short-story collection The Drowning and Other Stories (1999). The Big Impossible: Novellas + Stories”, was released in September 2019. He was awarded the L. L. Winship/PEN New England Award for Warp & Weft.

There are two basic kinds of hair wigs: The traditional machine stitched weft wig and the hand tied lace wig. The machine stitched wigs are still the most widely worn wigs today. The hair is sewn on a stretch weft material and come with back straps for adjusting to various head sizes. These wigs are typically pre-styled and lack any kind of realistic expectations.

WEFT Champaign 90.1FM is a listener-supported community radio station in Champaign, Illinois, founded in 1981 and owned by Prairie Air, Inc., a not- for-profit corporation. WEFT typically broadcasts 24 hours per day and 7 days per week. It has a wide range of programming, including music from a range of genres, local and nationally produced public affairs programming, live music, spoken word, and more.

Tent stitch is a small, diagonal needlepoint stitch that crosses over the intersection of one horizontal (weft) and one vertical (warp) thread of needlepoint canvas forming a slanted stitch at a 45-degree angle. It is also known as needlepoint stitch and is one of the most basic and versatile stitches used in needlepoint and other canvas work embroidery. When worked on fine weave canvas over a single warp and weft thread it is known as petit point in contrast to stitches, such as Gobelin, worked over multiple warp and/or weft threads. "Petit point" comes from the French language, meaning "small point" or "dot".

The shed, the triangular aperture on the far right, shown from the back of a table loom The shed shown in tablet weaving In weaving, the shed is the temporary separation between upper and lower warp yarns through which the weft is woven. The shed is created to make it easy to interlace the weft into the warp and thus create woven fabric. Most types of looms have some sort of device which separates some of the warp threads from the others. This separation is called the shed, and allows for a shuttle carrying the weft thread to move through the shed perpendicular to the warp threads.

Moleskin is woven of carded cotton yarn in a dense weft-faced satin weave. The surface is napped or sheared to "produce a suede-like finish".

Earlier production M-1956 belts have horizontal weft while later production have vertical weft.Rottman, Gordon L., Vietnam War U.S. & Allied Combat Equipments, Oxford, U.K.: Osprey Publishing, Ltd.

Frequently cretonne has a fancy woven pattern of some kind which is modified by the printed design. It is sometimes made with a weft of cotton waste.

The song begins with drummer D'Angelo's off-beat, cross-snare clicks on the two and four beat with a messy kick.McPherson, Steve. Warp + Weft: Voodoo. Reveille Magazine.

Soumak is a type of flat weave, somewhat resembling but stronger and thicker than kilim, with a smooth front face and a ragged back, where kilim is smooth both sides. Soumak lacks the slits characteristic of kilim, as it is usually woven with supplementary weft threads as continuous supports. The technique involves wrapping coloured weft threads over and under the warp threads, adding strength and embroidery-like pattern.

The ekh-rokha madur is the simplest of the three types of mat (ekh-rokha, do-rokha, and masland). It is produced on a simple bamboo-frame loom, using cotton thread as the warp and single reeds as the weft. The du-rokha is more complex, with a double-reed weft, and requires greater skill to produce. Masland mats are the finest products, requiring the greatest accuracy and experience to weave.

Each group of weft threads crosses an equal number of warp threads by going over one group, then under the next, and so on. The next group of weft threads goes under the warp threads that its neighbor went over, and vice versa. Basketweave can be identified by its checkered appearance, made of two or more threads in each group. Monkscloth is an example of a basketweave fabric.

Tomito J & N. Kasuri: Japanese Ikat Weaving, The Techniques of Kasuri. Routledge & Kegan Paul, 1982. . The warp and weft threads are resist-dyed in specific patterns prior to dyeing, with sections of the warp and weft yarns tightly wrapped with thread to protect them from the dye. When woven together, the undyed areas interlace to form patterns, with many variations — including highly pictographic and multi-colored results — possible to achieve.

At the same time, with development of an interest in coloured shirts, cambric was also woven in colours, such as the pink fabric used by Charvet for a corsage, reducing the difference between cambric and chambray. Moreover, the development and rationalization of mechanical weaving led to the replacement, for chambray, of coloured warp and white weft by the opposite, white warp and coloured weft, which allowed for longer warps.

It is usually made for 2 pieces of sari and is about 11.5 meters in length. While coloured silk is mostly used in figure work, the solid border have extra weft figuring threads. The weft for borders and body being different, three shuttle weaving is adopted, two for border and one for plain body. The border therefore appears as separately woven and then stitched to the body of the sari.

Six stages in the knitting machine cycle Early flat bed stocking frames had low carbon steel bearded needles where the tips were reflexed and could be depressed onto a hollow closing the loop. The needles were supported on a needle bar (bed) that passed back and forth, to and from the operator. The beards were simultaneously depressed by a presser bar. #The needle bar goes forward- the open needles clear the web #The weft thread is laid on the needles #The weft thread falls loosely #The needle bar draws back, the weft is pulled in the open needles #The needle bar draws back, the presser bar drops, the needle loops close and the weft is drawn back through the web #The needles open, a new row has been added to the web which drops under gravity This basic process can still be recognised in all machines, but it has been refined as new technologies have become available.

Threads are dyed in different shades, such as maroon, red, plum and rust. Fabrics are designed in tussar and gheecha and enhanced with a weft and cut shuttle technique.

The weavers use a primitive type of throw-shuttle pit looms for the production of exclusively cotton fabrics with pure zeri. They do not use any type of improved appliances such as Dobby, Jacquard, Jala, etc. for the production of designs for cloth with extra warp and extra weft. Identical appearance of designs, including warp and weft stripes on the face and backside of the fabric is obtained by this technique of weaving.

It is woven partly on tabby areas surrounded by ridges of long floats. The weave consists of warp and weft floats arranged around a plain weave center. The warp and weft threads are interlaced and floating in a way that creates small square ridges and hollows in the fabric in a regular pattern. The surface of the fabric has a texture that looks like the food called a waffle, hence the name.

2, p.135 at Internet Archive Accessed 7 October 2017 Fosbroke’s later adaptation of that work is likewise recommended as a supplement to Arthur St John’s more voluminous description in the account of his own tour along the river in 1819, The Weft of the Wye.Arthur St John, The Weft of the Wye: A Poem, Descriptive of the Scenery of that River, London, 1826, pp.97-101; see also the note on p.

In addition to their stylistic features, sompots especially are differentiated by the fabric they are made from. thumb There are three important silk textiles in Cambodia: (1) the ikat silks (chong kiet in Khmer), or hol; (2) the twill-patterned silks; and (3) the weft ikat textiles. Patterns are made by tying natural or synthetic fibers on the weft threads and then dyeing them. This process is repeated with different colors until the patterns firm and cloth is woven.

Because the weft does not have to be stretched on a loom the way the warp is, it can generally be less strong. It is usually made of spun fibre, originally wool, flax and cotton, today often of synthetic fibre such as nylon or rayon. The weft is threaded through the warp using a "shuttle", air jets or "rapier grippers". Handlooms were the original weaver's tool, with the shuttle being threaded through alternately raised warps by hand.

This threading method puts the threads through the holes of an entire deck. The four threads in the deck of cards are wrapped around two stationary objects, dropping one card each time around the fixed points. Cards are threaded in either S or Z directions, which alters the pattern created by turning the cards. A shuttle about 5" to 8" long is placed in the shed to beat the previous weft, then carry the next weft into the shed.

Shuttles made for tablet weaving have tapered edges to beat down the weft. Simple flat wooden or plastic shuttles work well for weaving any kind yarn from wool to cotton to silk. Patterns are made by placing different-colored yarns in different holes, then turning individual cards until the desired colors of the weft are on top. After that, a simple pattern, like a stripe, small diamond or check, can be repeated just by turning the deck of tablets.

The borders are created with interlocked weft technique either with coloured silk or zari. In the border woven with a zari, ground coloured silk patterns are added as supplementary weft inlay against the zari usually in the form of flower or a creeping vine. Two types of border are the Narali and the Pankhi. Even if a very good weaver has woven the main body, a master weaver is needed for the intricate inlay border paths.

Tartan is particularly associated with Scotland; Scottish kilts almost always have tartan patterns. Tartan is made with alternating bands of coloured (pre-dyed) threads woven as both warp and weft at right angles to each other. The weft is woven in a simple twill, two over—two under the warp, advancing one thread at each pass. This forms visible diagonal lines where different colours cross, which give the appearance of new colours blended from the original ones.

Powernet used Spandex cord as the warp with nylon cord as the weft, allowing movement primarily along the warp axis. Bobbinet used cotton-wrapped rubber warp and nylon or Dacron weft, and was flexible in both directions. The cotton wrapping limited the maximum stretch to 200% of the rest length. The amount of over-pressure bobbinet could create was about over the torso, the largest volume, and up to over smaller radius curves on the wrist and ankles.

The Silk Museum A rapier loom is a shuttleless weaving loom in which the filling yarn is carried through the shed of warp yarns to the other side of the loom by finger-like carriers called rapiers. A stationary package of yarn is used to supply the weft yarns in the rapier machine. One end of a rapier, a rod or steel tape, carries the weft yarn. The other end of the rapier is connected to the control system.

A deer exclosure was built to demonstrate the effects of grazing pressure from the deer. The preserve is known to harbor the relatively rare gametophytic fern species, the weft fern, Trichomanes intricatum.

The use of coloured cotton weft, with linen warp was permitted in the 1736 Manchester Act. There now was an artificial demand for woven cloth. In 1764, of cotton-wool was imported.

Kamben cepuk is an ikat of the weft from the island of Nusa Penida. These textiles were used as special ceremonial clothing in the past but now more commonly serve as temple decoration.

Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft or filling. (Weft or woof is an old English word meaning "that which is woven".) The method in which these threads are inter woven affects the characteristics of the cloth.

Which threads are raised and which are lowered are changed after each pass of the shuttle. The process of weaving can be simplified to a series of four steps: the shed is raised, the shuttle is passed through, the shed is closed, and the weft thread is beaten into place. These steps are then repeated, with a different set of threads being raised so as to interlace the warp and weft. The term shedding refers to the action of creating a shed.

20-22 denier-organized silk is used in warp, while twofold ply, very lightly twisted 30-32 silk is used for weft. The warp yarn cost Rs. 2900-3200 per kg whereas weft yarn costs Rs. 2400-3000 per kg. A single sari may weigh from 1.45 kg or more depending upon the weight of the silk and zari used. The warp is usually made in the peg or drums warping process and is tied in ball form at the back of loom.

Poplin Poplin dress embroidered with grape vines from Aguascalientes at the Museo de Arte Popular in Mexico City. Poplin, also called tabinet (or tabbinet), is a fine, but thick, wool, cotton or silk fabric that has a horizontal warp and a vertical weft. Nowadays, it is a strong fabric in a plain weave of any fiber or blend, with crosswise ribs that typically gives a corded surface. Poplin traditionally consisted of a silk warp with a weft of worsted yarn.

The Cambodian ikat is a weft ikat woven of silk on a multi-shaft loom with an uneven twill weave, which results in the weft threads showing more prominently on the front of the fabric than the back.[Mattiebelle Gittinger and H. Leedom Lefforts,Textiles and the Thai Experience in South-East Asia, Washington, DC 1992, PP38–39]Gill Green,"The Cambodia Weaving Tradition: Little Known Weaving and Loom Artifacts,"Arts of Asia, vold.27, no. 5, Hong Kong, 199, pp.

Great precision is needed at all stages of the production. Using a pick the weaver adjust the weft with each pass of the shuttle to make sure the alignment of the pattern is precise.

Traditionally, thread is wound around the chadaki to fill the bobins (nali) for weft with the help of a spinning wheel (charakha). Gandhi charakha or wooden charakha have been replaced by a metal part.

The words warp and weft derive ultimately from the Old English word wefan, to weave. Warp means "that which is thrown away" (Old English wearp, from weorpan, to throw, cf. German werfen, Dutch werpen).

Modern serges are made with worsted warp and a woollen weft. Denim is a cotton fabric with a similar weave; its name is believed to be derived from "serge de Nîmes" after Nîmes in France.

A double ikat weaving from Sulu, Philippines, made of abacá (banana leaf stalk) fiber. Double ikat is created by resist-dyeing both the warp and weft prior to weaving.Guy, John. Indian Textiles in the East.

The expression "warp and weft" (also "warp and woof" and "woof and warp") is used metaphorically the way "fabric" is; e.g., "the warp and woof of a student's life" equates to "the fabric of a student's life". Warp and weft are sometimes used even more generally in literature to describe the basic dichotomy of the world we live in, as in, up/down, in/out, black/white, Sun/Moon yin/yang, etc. The expression is also used similarly for the underlying structure upon which something is built.

The cross grain runs perpendicular to the selvedge and parallel to the weft threads. The cross grain generally has more stretch than the straight grain since the weft threads are generally looser than the warp during weaving. Most garments (like pants or shirts) are cut on the straight grain with the cross grain parallel with the floor when the wearer is standing. This allows more stretch through the width of the garment, such as in a pants leg which needs more circumferential than vertical stretch.

The report remained positive, and the researchers felt that further improvements were possible. Quoting the Report: The original SAS design was based on two new fabrics: a type of "powernet" (or "girdle fabric") for high-tension areas, and an elastic bobbinet weave for lower-tension areas. Both were based on a heavy elastic warp thread with a much less elastic weft thread to form a netting. The terms warp and weft are used loosely here, as the material was not woven using traditional means.

All the mule frames and equipment was by Hetherington and Sons Ltd. There were 77,184 mule spindles spinning fine counts of twists and weft from Egyptian cotton. By 1911 it was spinning medium counts of American.

From the late 18th to the early 20th century, the Lancashire cotton industry produced quilts using a mechanized technique of weaving double cloth with an enclosed heavy cording weft, imitating the corded Provençal quilts made in Marseilles.

The mule frames and ring frames were provided by Howard & Bullough, and initially there were 49,000 mule spindles and 26,000 ring spindles, spinning 16s. They had 300/408 mule twist, 208/368 ring twist, 228/428 weft.

There is, for example, cloth with a white warp and weft broken by green, yellow and red stripes known as cenana kawi whose function is in the 3 month ritual and also are laid out in the central shrine of an ancestral temple. Bias membah (running sand) has a white warp and weft in which grey and white stripes alternate. Enkakan taluh (smashed egg) has a vivid red-and white checked pattern. It is brought to the temple as an apparel for Brahma, the god residing in the south.

The weft was wound onto a removable holder called a pirn which was held in the middle of the shuttle. The weaver stopped the loom, found the shuttle, removed it, and bent the shuttle peg holding the pirn towards her, removed the pirn and replaced it with a fresh one. The shuttle had a hole at the end, known as the eye, through which the weft passed. She placed a loop of thread next to the inside edge of the eye and in an operation called "Kissing the shuttle", sucked it through.

Embroidery is limited to the space within the bands and is done by using a single stitch darning needle. It is not done within an embroidery frame but is done by counting the warp and weft on the fabric which has uniform structure by the reverse stitch method. To bring out a rich texture in the embroidered fabric, during the process of needle stitching, a small amount of tuft is deliberately allowed to bulge. Geometric pattern is achieved by counting the warp and weft in the cloth used for embroidery.

Wool-on-cotton (wool pile on cotton warp and weft): This particular combination facilitates a more intricate design-pattern than a "wool-on-wool carpet", as cotton can be finely spun which allows for a higher knot-count. A "wool-on-cotton" rug is often indicative of a town weaver. Due to their higher pile density, wool-on-cotton carpets are heavier than wool-on-wool rugs. Silk-on-silk (silk pile on silk warp and weft): This is the most intricate type of carpet, featuring a very fine weave.

Minangkabau songket, the pattern in the lower third representing bamboo sprouts Songket is a fabric that belongs to the brocade family of textiles of the Malay world (today, Indonesia, Malaysia, Brunei, Singapore and Southern Thailand). It is hand-woven in silk or cotton, and intricately patterned with gold or silver threads. The metallic threads stand out against the background cloth to create a shimmering effect. In the weaving process the metallic threads are inserted in between the silk or cotton weft (latitudinal) threads in a technique called supplementary weft weaving technique.

Dowlas is a plain cloth, similar to sheeting, but usually coarser. It is made in several qualities, from line warp and weft to two warp and weft, and is used chiefly for aprons, pocketing, soldiers' gaiters, linings and overalls. The finer makes are sometimes made into shirts for workmen, and occasionally used for heavy pillow-cases. The word is spelled in many different ways, but the above is the common way of spelling adopted in factories, and it appears in the same form in Shakespeare's First Part of Henry IV, Act III scene 3.

In this case, as the weft is in the form of a stout cord the fabric has a ridged structure, like rep, which gave depth and softness to the lustre of the silky surface. The ribs run across the fabric from selvedge to selvedge. Poplin is now made with wool, cotton, silk, rayon, polyester or a mixture of these. Since it has a plain under/over weave, the fabric displays a plain woven surface with no ribbing if the weft and warp threads are of the same material and size.

Colonial American linsey-woolsey Linsey-woolsey (less often, woolsey-linsey or in Scots, wincey) is a coarse twill or plain-woven fabric woven with a linen warp and a woollen weft. Similar fabrics woven with a cotton warp and woollen weft in Colonial America were also called linsey-woolsey or wincey.American Heritage Dictionary of the English Language, Fourth Edition, cited at FreeDictionary.com, retrieved 22 June 2007, and Random House Dictionary, via retrieved 25 June 2007Baumgarten, Linda: What Clothes Reveal: The Language of Clothing in Colonial and Federal America, Yale University Press, 2002.

Warp and Weft is the ninth studio album by American singer-songwriter Laura Veirs. Released on 19 August 2013 in the United States, and 24 August 2013 in Europe, the album was written by Laura Veirs herself and produced by her husband Tucker Martine. Recorded under Raven Marching Band Records in the US, and under Bella Union in Europe, ‘’Warp and Weft’’ is one of Veirs’ greatest commercial successes. Debuting at number 10 on the US Folk Albums charts, the album first entered the UK Charts, peaking at number 59.

One reason that carpet actually woven in Na'in is so popular, is that it uses predominantly natural and traditional colours rather than synthetic dyes. Other reasons include the sheer quality of the weft obtained from using mainly wooden looms.

This is known as the warp. Then another strand of yarn is worked back and forth wrapping over and under the warp. This wrapped yarn is called the weft. Most art and commercial textiles are made by this process.

" Weinreich, Regina: the Huffington Post. August 10, 2013. Retrieved 2013-10-08. Reviewing this exhibition, Marion Weiss writes: "Close's Jacquard tapestries are not obviously fragmented, but are created by repeating multicolor warp and weft threads that are optically blended.

London, Thames & Hudson, 2009, pp. 10, 24. Some sources use the term double ikat only when the warp and weft patterning overlap to form common, identical motifs. If they do not, the result is referred to as compound ikat.

Although South American styles shared much in common with those from North America, some differences are reliably observable. In addition to many of the specific weaves from the north, additional styles were created by using multiple weft strands at a time.

Osnaburg is a general term for coarse, plain-weave fabric. It also refers specifically to a historic fabric originally woven in flax but also in tow or jute, and from flax or tow warp with a mixed or jute weft.

Weft is also a hairdressing term for temporary hair extensions. These can be attached to a person's hair variously by cornrow braiding, using metal cylinders or gluing. The result is often called a weave.Glossary of hairdressing and hair styling terminology.

Hymenonema is the contraction of the Latin hymen, meaning "membrane", and nema, a word for "thread", "cloth", "weft", probably indicating the plant has membranous margins to the involucral bracts, or the receptacular bracts (or paleas), or the branches of the style.

The preparation machinery was provided by Brookes and Doxey, and the mule frames by Hetherington and Sons Ltd. There were 85,464 mule spindles spinning fine counts of twists and weft from Egyptian cotton. By 1948, this had been reduced to 54,104.

Detail of a classic Gujarati patola of double ikat from the early 19th century. LACMA textile collections. In warp ikat it is only the warp yarns that are dyed using the ikat technique. The weft yarns are dyed a solid colour.

The loom has a four-shuttle drop box to weave up to four colours of weft, and has John Kay's flying shuttle method of inserting the weft. Most of the handlooms used in the home were ordinary shaft looms. These do not require roof space and would be weaving standard cloths, unlike this loom which is fitted with a 360 hook de Vogue jacquard and can weave very complex fabrics. The plain Hattersley Domestic Loom was specially developed for cottage or home use and designed to replace the wooden handloom; the Domestic is similar in construction to a power loom.

She used these techniques, along with her knowledge of loom technology, to experiment to create new and different works. Her woven works included geometric abstract works and figurative images, using bright colours, muted colours and monochromatic black/grey/white. In Ikat, Stein created a technique that combined satin binding pattern with double ikat, such that the resist dyed warp and weft threads created a variation of colour intensity, and the weft- based pattern created a higher contrast than traditional ikat weavings. As a weaver, Stein's professional circle included textile artists such as Lenore Tawney and Mary Walker Phillips.

A tell tale sign of a Sarouk is usually its blue weft threads, salmon or tomato-red color mixed with ivory and blues, and a very traditional, floral style. The finest of the modern Sarouk rugs come from the small town of Ghiassabad.

The pile is formed by supplemental yarn running in the direction of the length of the fabric (warp pile weave) or the width of the fabric (weft or filling pile weave). Pile weaves include velvet and corduroy fabrics and machine-woven Berber carpets.

C. Michael Hogan, 2008. Black Spruce: Picea mariana, GlobalTwitcher.com, ed. Nicklas Stromberg These weft-form mosses grow in boreal moss forests, and are shaped to allow the needles to fall into them rather than covering them, so they grow over the needles.

As a result of the warp-faced twill weaving, one side of the textile is dominated by the blue warp threads and the other side is dominated by the white weft threads. Jeans fabricated from this cloth are thus predominantly white on the inside.

T. Wildman & Sons were an English company and specialists in the manufacture of bobbins for the textile industry. They manufactured all kinds of shielded ring bobbins (twist and weft), tubes and pirns. The firm was established in 1859.Lancashire County Council Accession number LANMS.

Since the 1950s he has designed thousands of fabric patterns and textiles, many associated with the modernist architecture and furnishings popular with post-1945 American consumers.Hamilton, William L. (24 September 1998). "At Home With: Jack Lenor Larsen; A Life's Warp and Weft". New York Times.

Woman's corset c. 1730–1740. Silk plain weave with supplementary weft-float patterning, stiffened with whalebone. Los Angeles County Museum of Art, M.63.24.5. The corset has been an indispensable article of clothing for several centuries in Europe, evolving as fashion trends have changed.

A. Abu Saud (1984), p. 135 They were then placed on a vertical loom constructed from wood whereupon women would use a stick to beat the weft into place.A. Abu Saud (1984), p. 136 The resulting cloths were used in rugs, carpets and tents.

Trude Jalowetz in Amsterdam (1937) Guermonprez combined the painterly possibilities of silkscreen with the structural geometry implicit in warp and weft to create fiber wall hangings that are both texturally rich and delicately drawn. Throughout her career, the majority of her work was private commission.

By winding the weft around different warps, ascending or descending diagonally as the work proceeds, the different areas are joined. This diagonal line forms the "lazy", or "section" line. The use of the lazy line technique results in a tight fabric without any open slits.

As of January 2015, the most recent version of the tool (WEFT 3.2) was released on 25 February 2003. As of 2019, the tool is no longer offered by Microsoft for download. An open source alternative is 'ttf2eot'. Microsoft PowerPoint 2007 and 2010 also generate .

Some times a separate pallu warp is twisted on the body. The end piece has fine silk. Warp threads are only of zari forming a golden ground upon which angular, brightly coloured silk designs are woven in the interlocked weft, producing a tapestry effect.

Warp threads in tablet weaving The warp is the set of yarns or other elements stretched in place on a loom before the weft is introduced during the weaving process. It is regarded as the longitudinal set in a finished fabric with two or more sets of elements. The term is also used for a set of yarns established before the interworking of weft yarns by some other method, such as finger manipulation, yielding wrapped or twined structures. Very simple looms use a spiral warp, in which the warp is made up of a single, very long yarn wound in a spiral pattern around a pair of sticks or beams.

There is a slight difference between the selvages in handweaving and in industry, because while industrial looms originally very closely mimicked handweaving looms, modern industrial looms are very different. A loom with a shuttle, such as most hand weaving looms, will produce a very different selvage from a loom without a shuttle, like some of the modern industrial looms. Also in industry sometimes the selvage is made thicker with a binding thread. Selvages of fabrics formed on weaving machines with shuttles, such as hand looms, are formed by the weft turning at the end of each pick (pass of the weft thread) or every second pick.

The type or motion of selvage depends on the weaving technique or loom used. A water- or air-jet loom creates a fringed selvage that is the same weight as the rest of the cloth, as by the weft thread is drawn via a jet nozzle, which sends the weft threads through the shed with a pulse of water. The selvage is then created by a heat cutter which trims the thread at both ends close to the edge of the cloth, and then it is beaten into place. Thus it creates a firm selvage with the same thickness as the rest of the cloth.

It is then carded between mechanical, toothed rollers which tease and mix the fibers thoroughly before it is separated into a fragile, embryonic yarn. This soft yarn then has a twist imparted to it as it is spun to give it maximum strength for weaving. The spun yarn is wound onto bobbins to provide the ingredients of weft (left-to-right threads) and warp (vertical threads) supplied to the weavers. This vitally important process sees thousands of warp threads gathered in long hanks in very specific order and wound onto large beams ready to be delivered, together with yarn for the weft, to the weavers.

A smaller rug can be woven continuously by fitting in one line of pile knots around the longitudinal warp threads, followed by the introduction of one or more threads of the weft (or filling yarn) which then span the entire width of the loom. When working on a broader loom, the weaver may decide to build up the area within easy reach first and then move sidewards and complete the rest. The wefts are wound back around single warps at the borders of the respective area. If the weft is always turned around the same warp, a slit will appear in the fabric, as seen in kilims.

Successive tying-in and dyeing process with different colours will yield the fabric geometric or floral motifs. Traditional weaving techniques: the shuttle carries the weft threads from right to left to create special motifs on the fabric The threads are then tied-up to a frame. The warp chain will individually pass through dents of the reed to be rolled up again on the cylinder placed in front of the loom. In the meantime, the weaver alternately pedal up and down on the levers to overhang the frame, and to provide the route for the shuttle that carries the weft threads to move from right to left.

These include: ley (supplementary warp), doble cara, (complementary warp), amapolas (a weaving technique that allows for designs on both sides of the textiles in up to five colors), ticlla (discontinuous warp and weft), sling and rope braiding, knitting, and other techniques. Pitumarca textiles are some of the finest and most complex in the Cusco region, and the town's official slogan is the "Andean capital of textiles." Weavers of the Pitumarca association are incredibly proud of their hard work to investigate and revive techniques like ticlla, and wear their traditional clothing with honor and pride. Pitumarca is known internationally for its revival of the ticlla (discontinuous warp and weft) technique.

Kilim is the most widespread type of flat- woven carpets. They are made by passing the weft through the warp using the technique of compound interweaving. Kilim is characterized by a slot-like gap (opening) around the geometrical patterns. These openings impart a lace effect the kilim.

The yarns are then dried by the technique of street spreading. The village is planned in a linear way because of this process only. Weft preparation –The yarn is rotated on a ‘charkha’ so that it gets transferred to the shuttle and then it goes for weaving.

The Ipepe (Ashira clothing) is traditional weaved fabric of Punu people. The woven fiber fabric of Ashira of Gabon.The woven fabric is formed by weaving. Woven fabrics are often created on a weaving loom and composed of numerous fibers in fibers woven on a warp and weft.

A reed with a larger number of dents per inch is generally used to weave finer fabric with a larger number of ends per inch. Because it is used to beat the weft into place, the reed regulates the distance between threads or groups of threads.

For comparison, knitting across the width of the fabric is called weft knitting. Since warp knitting requires that the number of separate strands of yarn, or ends, equals the number of stitches in a row, warp knitting is almost always done by machine rather than by hand.

The wefts are then woven with new (normal diameter) warps, resulting in a fine dotted pattern. The silk of and the ramie of are noted for this technique. # : The undyed warp is woven with a coarse temporary weft. This cloth is then printed with the design.

Tabriz is the market center for the Iranian Northwest. Carpets woven in this region mainly use the symmetric knot. Heriz is a local center of production for mainly room-size carpets. Warps and weft are of cotton, the weaving is rather coarse, with high-quality wool.

The final two minutes of "The Root" feature an emphatic refrain of the chorus line. Reveille Magazine's Steve McPherson wrote that the chorus "feeds back into itself over and over again, turning from a hook into a mantra into a gospel affirmation".McPherson, Steve. Warp + Weft: Voodoo.

The eye of this shuttle was not a closed ring. Patented methods were used to enable the weft to be threaded into the eye, the challenges were production cost, maintaining production speed both in the speed it would run and the time needed to thread it and doff it.

In August 2013, she released Warp & Weft. In 2015, she worked on the album Carrie and Lowell by Sufjan Stevens. Veirs' long term collaborator Tucker Martine engineered some of the album. Veirs was lead songwriter for the 2016 album case/lang/veirs, a collaborative project between Veirs, k.d.

This means that 4 units of black thread will be succeeded by 32 units of red, etc., in both the warp and the weft. Typically, the units are the actual number of threads, but as long as the proportions are maintained, the resulting pattern will be the same.

Late 19th century shoe covered in shattering silk. The weft threads were made from weighted silk which has shattered, leaving the warp threads intact. 1890s wedding dress made from weighted silk. The splits and damage visible on the sleeve are caused by the weighting process of the fabric.

She obtained a B.F.A. from the University of Kansas in 1980. As an artist, she became known for wall pieces made with painted warps and hand-manipulated weft brocading. Her work was included in the prestigious traveling exhibition Frontiers in Fiber, curated by Mildred Constantine and Jack Lenor Larsen.

M. H. Mohamed and Z.-H. Zhang, "Method of Forming Variable Cross-Sectional Shaped Three- Dimensional Fabrics". US Patent 5085252, 4 February 1992. The architecture of the 3D orthogonal woven fabric consists of three different sets of yarns; warp yarns (y-yarn), weft yarns (x-yarn), and (z-yarn).

High quality custom wigs, and those used for film and theatrical productions are usually done this way. It is also possible to combine the two techniques, using weft for the main part of the wig and ventilating hair at the edges and partings to give a fine finish.

A Saga Nishiki work is a form of brocading from Saga Prefecture, Japan. It is a unique form of brocading in that Japanese paper is used as the warp. This paper is coated in either gold, silver or lacquer. The weft is a silk thread which is dyed.

Paithani is a sari made of silk and zari. It is a plain weave, with weft figuring designs according to the principles of tapestry. Traditionally, Paithanis had a coloured, cotton muslin field that often contained considerable supplementary zari patterning. However, in the 19th century, silk fields were also woven.

The Loulan Beauty possesses a comb, with four teeth remaining. Barber suggests that this comb was a dual purpose tool to comb hair and to "pack the weft in tightly during weaving." She possesses a "neatly woven bag or soft basket." Grains of wheat were discovered inside the bag.

Denim fabric dyed with indigo Denim fabric dyed with indigo and black dyes and made into a shirt Denim is a sturdy cotton warp-faced textile in which the weft passes under two or more warp threads. This twill weaving produces a diagonal ribbing that distinguishes it from cotton duck. While a denim predecessor known as dungaree has been produced in India for hundreds of years, denim itself was first produced in the French city of Nîmes under the name sergé de Nîmes. Denim is available in a range of colors, but the most common denim is indigo denim in which the warp thread is dyed while the weft thread is left white.

Corduroy: This modern diagram shows the warp (3) and the long (red-4) and short (green-5) weft threads; traditionally the knife (1) and the guide (2) are attached and the cutting motion is upwards. Known in Late Latin as fustaneum or fustanum and in Medieval Latin as pannus fustāneus ('fustian cloth') or tela fustānea ('fustian mesh'), the cloth is possibly named after the Egyptian city of Fustat near Cairo that manufactured such a material. It embraces plain twilled cloth known as jean, and cut fabrics similar to velvet, known as velveteen, moleskin, corduroy etc. The original medieval fustian was a stout but respectable cloth with a cotton weft and a linen warp.

A wheel was rapidly turned as the frame was pushed back, and the spindles rotated, twisting the rovings into yarn and collecting it on the spindles. The spinning jenny was effective and could be operated by hand, but it produced weaker thread that could only be used for the weft part of cloth. (Because the side-to-side weft does not have to be stretched on a loom in the way that the warp is, it can generally be less strong.) The throstle and the later water frame pulled the rovings through a set of attenuating rollers. Spinning at differing speeds, these pulled the thread continuously while other parts twisted it as it wound onto the heavy spindles.

The final pattern of the fabric was obtained by crossing the warp threads and holding them in place with wooden splinters which were removed as the weft was passed through in their place. Hammocks were made by wrapping the warp around two vertical posts and twining it at set intervals.

Structure of basketweave fabric, with each thread traveling over two, then under two threads of the opposing direction. Basketweave or Panama weavePanama Weave at Texsite.info is a simple type of textile weave. In basketweave, groups of warp and weft threads are interlaced so that they form a simple criss-cross pattern.

First, an entire row of beads is strung on the weft thread. Then the beads are pressed in between the warp threads. The needle is passed back through the beads above the warp threads to lock the beads into place. Heddle looms were popular near the beginning of the 20th century.

Some loom poles were also carved with figures illustrating supernatural characters or family history. Specially designed combs were used during the process of preparing the wool, and another tool pushed the weft during weaving. Although the smaller textiles were often functional, many larger robes served as indicators of wealth.Jonaitis, Aldona.

Blue and black checked tattersall cotton cloth. Tattersall describes a check or plaid pattern woven into cloth. The pattern is composed of regularly-spaced thin, even vertical warp stripes, repeated horizontally in the weft, thereby forming squares. The stripes are usually in two alternating colours, generally darker on a light ground.

The straight grain is oriented parallel with the warp threads and the selvedge. The straight grain typically has less stretch than the crossgrain since the warp threads will be pulled tighter than the weft during weaving. Most garments are cut with the straight grain oriented top to bottom. Howard, Pamela.

Some qualities are produced from crossbred worsted yarns adapted for furnishing crispness. Cheviot suitings for sportswear are made from harder spun worsted yarns, and some are also made from botany worsted. Cheviot shirting is a stout, twilled, cotton fabric woven with small geometrical patterns or with warp stripes and bleached weft.

Some of the oldest surviving African textiles were discovered at the archaeological site of Kissi in northern Burkina Faso. They are made of wool or fine animal hair in a weft- faced plain weave pattern.Magnavita, S. 2008. The oldest textiles from sub- Saharan West Africa: woolen facts from Kissi, Burkina Faso.

There are four main weaving techniques. Simple huipils are made in brocade with extra or supplementary weft threads seen on both sides of the cloth. Napkins and tablecloths have one side completely smooth. A second type of huipil has areas of gauze weave (gauze is an open cloth stabilized with leno twists).

Amorett Konfektionsfabrik was a clothing manufacturing company in Oslo, Norway. It was established by E. Storm Røslie in 1927. The factory weft its own textiles and produced women's underwear, night gowns, pyjamas and similar clothing. The production facility was at Gustav Vigelands vei 1 at Skøyen, and was torn down in the 1960s.

Crompton's first mule had 48 spindles and could produce of 60s thread a day. This demanded a spindle speed of 1,700 rpm, and a power input of . The mule produced strong, thin yarn, suitable for any kind of textile, warp or weft. It was first used to spin cotton, then other fibres.

This weft pattern weaves an original but widely dispersed urban morphology. In parallel to the RN 61 but bypassing the village, the railway line serving the Hambach Europole crosses the town. Despite its name, the municipality does not have a forest. Three streams cross the town: the Hoppbach, the Waldscheingraben and the Dorrenbach.

The belt consists of one or more layers of material. It is common for belts to have three layers: a top cover, a carcass and a bottom cover. The purpose of the carcass is to provide linear strength and shape. The carcass is often a woven or metal fabric having a warp & weft.

Also, Lancashire businessmen produced grey cloth with linen warp and cotton weft, known as fustian, which they sent to London for finishing. Cottonwool imports recovered though, and by 1720 were almost back to their 1701 levels. Coventry woolen manufacturers claimed that the imports were taking jobs away from their workers. The Woollen, etc.

WEFT began to broadcast in stereo at this time. This move extended the broadcast coverage area significantly with the signal reaching up to . The 10,000-watt transmitter which had been installed in 1988 was replaced in 2008 after a lightning strike damaged the older tube- type transmitter. The current transmitter is solid state.

Spread tow fabric (stf) is a type of lightweight fabric. Its production involves the steps of spreading a tow in thin and flat uni-directional tape (Spread Tow Tape, STT), and weaving the tapes to a Spread Tow Fabric.Khokar, N., 1999. A Method for Weaving Tape-like Warp and Weft, J. Text. Inst.

121x121px Waffle fabric, also known as honeycomb fabric, has raised threads that form small rectangles. It can be made by either weaving or knitting. Waffle weave is a further exploitation of plain weave and twill weave which produces a three-dimensional effect. The combination of warp and weft floats creates the structure.

By the late 16th and early 17th centuries, decorative patterns on the fabrics had become smaller and brighter. By the second half of the 17th century, the most precious kaftans were those with 'yollu': vertical stripes with varying embroidery and small patterns – the so-called "Selimiye" fabrics. Most fabrics manufactured in Turkey were made in Istanbul and Bursa, but some textiles came from as far away as Venice, Genoa, Persia (Iran), India, and even China. Kaftans were made from velvet, aba, bürümcük (a type of crepe with a silk warp and cotton weft), canfes, çatma (a heavy silk brocade), gezi, diba (), hatayi, kutnu, kemha, seraser (Persian ) (brocade fabric with silk warp and gold or silver metallic thread weft), serenk, zerbaft (Persian ), and tafta (Persian ).

Hand loom with witch The hand loom with the witch is typical of many that were used in the mills by cloth designers to develop new fabric designs and patterns. They are still used in the textile departments of universities and colleges for training students in weaving and the designing of fabrics. The shafts are lifted by a witch, an early form of dobby, with weights underneath to pull the shafts down, and can work up to 50 shafts to produce very complicated patterns. The weft is put in by hand using the flying shuttle method invented in 1733 by John Kay, and up to four colours can be woven in the weft using Robert Kay's (son of John Kay) 1760 invention of the multiple shuttle box.

A plain weave selvage is the other option, where the last few threads on either side are woven in plain weave. In industry the selvage may be thicker than the rest of the fabric, and is where the main weft threads are reinforced with a tight weft back binding to prevent fraying. More simply, they "finish" the left and right-hand edges of fabric as it exits the loom, especially for the ubiquitous "criss-cross" simple or tabby weave, referred to in industry as taffeta weave.Kate Heinz Watson, Textiles and Clothing American School of Home Economics, Chicago: 1907 Selvages on machine-woven fabric often have little holes along their length, through the thick part, and can also have some fringe.

May H. Beattie identified these carpets by their common structure: Seven different types of carpets were identified: Garden carpets (depicting formal gardens and water channels); carpets with centralized designs, characterized by a large medallion; multiple-medaillon designs with offset medaillons and compartment repeats; directional designs with the arrangements of little scenes used as individual motifs; sickle-leaf designs where long, curved, serrated and sometimes compound leaves dominate the field; arabesque; and lattice designs. Their distinctive structure consists of asymmetric knots; the cotton warps are depressed, and there are three wefts. The first and third weft are made of wool, and lie hidden in the center of the carpet. The middle weft is of silk or cotton, and passes from the back to the front.

A knotted-pile carpet is a carpet containing raised surfaces, or piles, from the cut off ends of knots woven between the warp and weft. The Ghiordes/Turkish knot and the Senneh/Persian knot, typical of Anatolian carpets and Persian carpets, are the two primary knots.Goswami, K.K.; ed. (2009). Advances in Carpet Manufacture, p.239.

Fabric is woven using a 'cut shuttle technique', in which shuttles interlock with one another to form foda kumbha in the weft direction. Shuttles on both sides interlock with the main shuttle for the main body of the fabic. By tie and die bandha technique, the foda kumbha pattern is copied for multiple productions.

Sweetwater and Noyes Creek, near Powder Springs October 1-3. Van Weft October 9. Nashville Campaign November-December. Columbia, Duck River, November 24-27. Crossing of Duck River November 28. Columbia Ford November 28-29. Battle of Nashville December 15-16. Pursuit of Hood December 17-28. Franklin and West Harpeth River December 17.

Burnham (1980), p. 132 The warp must be strong to be held under high tension during the weaving process, unlike the weft which carries almost no tension. This requires the yarn used for warp ends, or individual warp threads, to be made of spun and plied fibre. Traditionally wool, linen, alpaca, and silk were used.

Black bombazine with lace edging and beading. Bombazine, or bombasine, is a fabric originally made of silk or silk and wool, and now also made of cotton and wool or of wool alone. Quality bombazine is made with a silk warp and a worsted weft. It is twilled or corded and used for dress-material.

Tricot is very common in lingerie. The right side of the fabric has fine lengthwise ribs while the reverse has crosswise ribs.Sarah Veblen, "Samplings of Weft and Warp Knit Fabrics", Threads Issue #97, 2012 The properties of these fabrics include having a soft and 'drapey' texture with some lengthwise stretch and almost no crosswise stretch.

Most lace machines stem from the weft-knitting Stocking frame. The Leavers machine is a derivative of Heathcoat's 1809 Old Loughborough. The Leavers machine was invented by John Levers,(sic) a framesmith and setter-up of Sutton-in-Ashfield. Sources give the date as either 1813 or 1814, and the location as Derby Road, Nottingham.

Baskets sizes and shapes depend on the intended use. Some baskets are created for women to wear as caps, some for cooking on hot stones, holding semi-liquid food or water. Willow rods are used for the warp and pine root is used for the weft. In the caps, only tule fiber is used.

The spinning jenny was invented by James Hargreaves. He was born in Oswaldtwistle, near Blackburn, around 1720. Blackburn was a town with a population of about 5,000, known for the production of "Blackburn greys," cloths of linen warp and cotton weft initially imported from India. They were usually sent to London to be printed.

Palas is one of the widely spread flat-weave carpets. The palas weaving process consists in passing the weft through the warp by a simple technique. The weavers decorate the palas by traditional patterns in the form of horizontal stripes commonly used throughout Azerbaijan. But every individual weavers had their own choice of composition and colors.

In the making of the art, colored weft and light colors were used for the main illustrations. This proved to be difficult to the authors. Ohkawa believes the art in general was influenced by the years in which the manga was published. This is reflected in how Clamp's artwork changed, the clothing and most notably Hokuto's dresses.

Alternating wales of red and yellow knit stitches. Each stitch in a wale is suspended from the one above it. Like weaving, knitting is a technique for producing a two-dimensional fabric made from a one-dimensional yarn or thread. In weaving, threads are always straight, running parallel either lengthwise (warp threads) or crosswise (weft threads).

Velveteen was cut the same way but had 32 ridges per inch so production would be proportionately less. Cutting was one part of the process. The yarn was sized and the cloth was woven—there would be a high number of weft threads to warp. The ridges were manually cut, and the cloth sent to be finished.

Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom.

They are the perfect mixture of strength and speed, and are of a medium intelligence. Leatherbacks of note include Bazil himself, Jumble, Weft, Fury, and Cham. Hard Greens are about the same size and weight as Leatherbacks, but distinguished by harder scaleplates and often high strung temperament. Greens mentioned are Gryff, Anther, Smilgax of Troat, and Hexarion.

How to Identify Mushrooms to Genus III: Microscopic Features. Arcata, CA: Mad River Press. . pp. 60–70. Literally, "trama" is the Latin word for the "weft" or "woof" yarns in the weaving of cloth. This probably is related to the basidiocarp trama being "filler" tissue and that analogously the woof yarn in weaving is sometimes called "fill".

Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band which meets this definition of cloth (warp threads with a weft thread winding between) can also be made using other methods, including tablet weaving, back-strap, or other techniques without looms.

A variety of additional instruments are used for packing the weft. Some weaving areas in Iran known for producing very fine pieces use additional tools. In Kerman, a saber like instrument is used horizontally inside the shed. In Bijar, a nail-like tool is inserted between the warps, and beaten on in order to compact the fabric even more.

Warps, weft and pile are constantly kept wet during the weaving process. When the finished carpet is allowed to dry, the wool expands, and the fabric becomes more compact. The fabric is further compacted by vigorous hammering on nail-like metal devices which are inserted between the warps during the weaving. Alternate warps are moderately to deeply depressed.

Dupioni fabric. Dress in brown dupioni, 1940s/early 1950s Sweden. Dupioni (also referred to as Douppioni or Dupion) is a plain weave crisp type of silk fabric, produced by using fine thread in the warp and uneven thread reeled from two or more entangled cocoons in the weft. This creates tightly-woven yardage with a highly-lustrous surface.

Messrs Morris and Betts took a patent (807) in 1764 on a stitch transfer device where threads from one needle were passed to another. With tuck stitches, this created 'eyelet holes'. Partial stitch transfer produced a marker stitch. In 1764, a profound change was made to the stocking frame that enabled it to produce weft-knitted nets.

Satin weave. The warp yarns are shown running top to bottom, weft running sideways folding at each side. Purple satin fabric Satin refers to the weave of a fabric rather than the material. It typically has a glossy surface and a dull back, one of three fundamental types of textile weaves along with plain weave and twill.

Davies, 2000 The weft strands, which carry the visible design and color, are almost always wool, whereas the hidden warp strands can be either wool or cotton. The warp strands are only visible at the ends, where they emerge as the fringe. This fringe is usually tied in bunches, to ensure against loosening or unraveling of the weave.

It also drapes well. The bindings create a herringbone effect parallel to the warp, which make this weave suitable for creating faint diagonal stripe effects for ties, for which the fabric is cut on the bias. Patterns on this base are often made with supplementary weft. The fabric has also been used for mufflers, scarves and robes.

Bizarre silk of circa 1715 features a geometric, diagonal design overlaid with stylized flowers and leaves. Silk satin with supplementary weft patterning bound in twill (lampas). Detail of a sleeved waistcoat, Los Angeles County Museum of Art, M.2007.211.40. Bizarre silks are a style of figured silk fabrics popular in Europe in the late 17th and early 18th centuries.

The fibre used to make the fabric is traditionally worsted wool, but may also be cotton, texturised polyester, or a blend. Gabardine is woven as a warp-faced steep or regular twill, with a prominent diagonal rib on the face and smooth surface on the back. Gabardine always has many more warp than weft yarns.Kadolph (2007), pp.

In Thailand, the local weft ikat type of woven cloth is known as Matmi (also spelled 'Mudmee' or 'Mudmi').Silk at Ban Sawai Traditional Mudmi cloth was woven for daily use among the nobility. Other uses included ceremonial costumes. Warp ikat in cotton is also produced by the Karen and Lawa tribal peoples in northern Thailand.

Hereke carpets are created using a unique construction method. The initial preparation of the loom is distinct from most other techniques worldwide. The Hereke method allows the possibility of a second weft, this difference separates the Hereke carpet-making technique from others. Hereke carpets are double knotted using the Turkish knot, resulting in a more durable product.

It is considered as one of the rare medieval cities of North Africa to keep its original weft even with all the modifications of its buildings throughout the decades. It represents also the best example of the most conserved Arab-Muslim town planning in all the Mediterranean Basin. Its monuments are classified as national historical monuments since 1912.

When he peered inside he saw the Valkyries were weaving a cloth and singing. Daraddus recorded what he heard and saw: :Blood rains from cloudy web on the broad loom of slaughter. The web of man, grey as armor, is now woven. The Valkyries will cross it with a crimson weft :The warp is made of human entrails.

XII Part IV, 1916 In Medieval England, double weaves called compound weft-faced twills featured weft or filling yarns in multiple colors, with the design completely covering the face warp yarns and the unused colors for any particular section woven into a binding warp on the reverse side.Crowfoot, Elisabeth, Frances Pritchard, and Kay Staniland, Textiles and Clothing: Medieval Finds from Excavations in London, c.1150-c.1450, HMSO Books, 1991, In early 19th century America, double cloth wool and cotton woven coverlets were made by professional weavers from wool that was spun (and often dyed) at home and then delivered to a local weaver who made up the coverlet.Weissman, Judith Reiter and Wendy Lavitt: Labors of Love: America's Textiles and Needlwork, 1650-1930, New York, Wings Books, 1987, pp.

The perceived threat of the power loom led to disquiet and industrial unrest. Well known protests movements such as the Luddites and the Chartists had handloom weavers amongst their leaders. In the early 19th-century power weaving became viable. Richard Guest in 1823 made a comparison of the productivity of power and handloom weavers: > A very good Hand Weaver, a man twenty-five or thirty years of age, will > weave two pieces of nine-eighths shirting per week, each twenty-four yards > long, and containing one hundred and five shoots of weft in an inch, the > reed of the cloth being a forty-four, Bolton count, and the warp and weft > forty hanks to the pound, A Steam Loom Weaver, fifteen years of age, will in > the same time weave seven similar pieces.

Woodhead Publishing in Textiles: Number 87 (The Textile Institute). . "The two most common types of knot used in an oriental carpet are the Persian knot and the Turkish knot." A flat or tapestry woven carpet, without pile, is a kilim. A pile carpet is influenced by width and number of warp and weft, pile height, knots used, and knot density.

It is alleged that Highs knew the jenny's limitations. It could produce only thread that was suitable for weft. Its output was too soft to be used for warp, which still had to be manufactured from linen. While Hargreaves worked on the spinning jenny, Highs, it is alleged, constructed a machine using rollers, similar to a machine later called the water frame.

To understand the Jacquard loom, some basic knowledge of weaving is necessary. Parallel threads (the “warp”) are stretched across a rectangular frame (the "loom"). For plain cloth, every other warp thread is raised. Another thread (the “weft thread”) is then passed (at a right angle to the warp) through the space (the “shed”) between the lower and the upper warp threads.

Dobby, or dobbie, is a woven fabric produced on the dobby loom, characterised by small geometric patterns and extra texture in the cloth. The warp and weft threads may be the same colour or different. Satin threads are particularly effective in this kind of weave as their texture will highlight the pattern. Dobby usually features a simple, repeated geometric pattern.

Twill weaves, which are also common, alternatively utilize diagonal lines created by floating the warp or the weft to the left or the right. This process creates a softer fabric favored by designers in the fashion and clothing design industries. Common and recognizable twill styles include patterns like houndstooth or herringbone. Beyond weave structure, color is another dominant aspect governing woven textile design.

The terms "warp" and "woof" are also found in some English translations of the Bible in the discussion of mildews found in cloth materials in Leviticus 13:48-59. In Guru Granth Sahib many shabads in Gurbani use the metaphor of warp (Dana) and weft (peta) to describe the state where our soul imbibes into the Almighty as a fabric.

The Triumph of Fame is one of a set of six tapestries, the other five of which are now lost, based on Petrarch's Trionfi. It was created probably in Brussels, by an unknown workshop. This work, or one identical to it, was bought by Queen Isabella of Spain and Castile in 1504. This tapestry uses a silk weft that covers the wool warp.

Bhutan - A Trekker's Guide. Bart Jordan. Cicerone Press. 2008 page 91 A local story is that the double peak originated because Jitch Drake teased a young girl while she was weaving, resulting in her hitting Jitchu Drake on the head with the tham (the piece of wood used to beat a new line of weft weaved), producing the double peak.

Aida cloth is manufactured with various size spaces or holes between the warp and weft to accommodate different thicknesses of yarn. These are described by the count. For example, a 10-count aida cloth would have 10 squares per linear inch. Typical sizes are 7, 10, 11, 12, 14, 16, 18, 22, and 28 count, ranked from the coarsest to the finest count.

Most selvages are narrow, but some may be as wide as . Descriptions woven into the selvage using special jacquards, colored or fancy threads may be incorporated for identification purposes. For many end-uses the selvage is discarded. Selvages are 'finished' and will not fray because the weft threads double back on themselves and are looped under and over the warp.

Sambalpuri sari. Handloom sari weaving is one of India's cottage industries."Origin of Handloom Sarees" The handloom weaving process requires several stages in order to produce the final product. Traditionally the processes of dyeing (during the yarn, fabric, or garment stage), warping, sizing, attaching the warp, weft winding and weaving were done by weavers and local specialists around weaving towns and villages.

Structure of stockinette, a common weft-knit fabric. The meandering red path defines one course, the path of the yarn through the fabric. The uppermost white loops are unsecured and "active", but they secure the red loops suspended from them. In turn, the red loops secure the white loops just below them, which in turn secure the loops below them, and so on.

These arrangements can be simple, diagonal or both. The last main categorization comes from the direction that the weft is twisted. This is denoted as S-twist and Z-twist or both. In the S-twist the strands appear to come up as they are twisted left and the Z-twist appears to come up as they are twisted to the right.

Rather than gluing or tying the feathers onto the canvas, they were woven in as weft. Upon acquisition, Augustus had the curtains removed and turned into wall hangings, inspiring the room's name, Federzimmer, or "feather room". This ensemble was moved to Schloss Moritzburg in 1830. Following an extensive 19-year restoration, the bed and wall hangings have been on view again since 2003.

Sateen is a fabric made using a satin weave structure but made with spun yarns instead of filament.Tortora, Phyllis G. (2005) Fairchild's Dictionary of Textiles (7th Ed.) New York: Fairchild Publications, p. 490. . The sheen and softer feel of sateen is produced through the satin weave structure. Warp yarns are floated over weft yarns, for example four over and one under.

Georgette (from crêpe Georgette) is a sheer, lightweight, dull-finished crêpe fabric named after the early 20th century French dressmaker Georgette de la Plante.The Oxford English Dictionary's earliest citation is 1915. Originally made from silk, Georgette is made with highly twisted yarns. Its characteristic crinkly surface is created by alternating S- and Z-twist yarns in both warp and weft.

Silk leggings associated with the caftan. The caftan's borders, each about wide, are made of two different designs of polychrome samite (weft-faced compound twill weave) patterned silks. One textile is used for the lapels and the outer border of the lower panels, and the second for the inner border of the lower panels. Both would be visible when the garment was worn.

The couple had two sons and a daughter. After her marriage, Hobhouse continued to write, including two novels: An unknown quantity in 1898 and Warp and weft in 1899. Hobhouse and her family lived in England for many years, she regularly visited the family home in Antrim. She died at her home, 82 Onslow Gardens, London on 24 August 1901 having contracted tuberculosis.

The forerunner of the mechanical lace-making machine was the 1589 stocking frame. This is a weaving frame fitted with a bar of bearded needles that passed back and forth, to and from the operator. There was no warp. The beards were simultaneously depressed by a presser bar catching the weft and holding it back for a course, making a row of loops.

Dawn Mill, Shaw was a cotton spinning mill in Shaw and Crompton, Oldham, Greater Manchester. It was built on the site of Shaw Mill at the "dawn" of the 20th century. Dawn Mill was equipped with mule weft spindles in 1950. It was powered by Engines named Venus and Mars, 1800 hp twin tandem compound engine by George Saxon of Manchester.

A Japanese weaver using a beater, mounted from a notched pole and suspended overhead. Woodcut print by Yanagawa Shigenobu, 1825-1832. A beater or batten, is a weaving tool designed to push the weft yarn securely into place. In small hand weaving such as Inkle weaving and tablet weaving the beater may be combined with the shuttle into a single tool.

A pattan (Paithani) is a gold and silk sari. In the revival of Paithani weaving, the production was oriented towards export requirements, while saris were produced only for sophisticated buyers. Paithani evolved from a cotton base to a silk base. Silk was used in weft designs and in the borders, whereas cotton was used in the body of the fabric.

"True Bias" of cloth. The bias grain of a piece of woven fabric, usually referred to simply as "the bias", is any grain that falls between the straight and cross grains. When the grain is at 45 degrees to its warp and weft threads it is referred to as "true bias." Every piece of woven fabric has two biases, perpendicular to each other.

It is one of three fundamental types of textile weaves along with plain weave and satin. It is made by passing the weft thread over one or more warp threads then under two or more warp threads and so on, with a "step," or offset, between rows to create the characteristic diagonal pattern. Because of this structure, twill generally drapes well.

An example of waffle fabric Waffle fabric can also be made on a double jersey knitting machine by selecting the needle position for knitting and tucking the loops for the formation of the structure similar to floating warps and weft in weaving. The knitted waffle can be produced in two variants big waffle and mini waffle, it is also known as thermal fabric.

It was inserted along the fabric alongside two warp threads, and under the raised weft, and as it was guided forward the blade severed the weft. In corduroy, there were seven ridges to the inch, so along a 31in bolt, there would be about 320 cuts to be done.Fustian cutting video Calderdale Museums and Galleries, Heptonstall Museum, 2010 In the 1860s, the cloth would be stretched over a 22yd long table, and the cutters would walk the length of the table as many times as was necessary, in recent times the cloth was tensioned over a 6 ft table and all the cuts made, and then the cloth would be released and the next two yards tensioned onto the table. Over a 60hr week the cutter would be expected to produce 500 yards of 7–8 ridge corduroy.

In this 1825 portrait by Charles Bird King, David Vann (later Treasurer of the Cherokee Nation) wears a fingerwoven sash and shoulder strap Fingerweaving is a Native American art form used mostly to create belts, sashes, straps, and other similar items through a non-loom weaving process. Unlike loom-based weaving, there is no separation between weft and warp strands, with all strands playing both roles.

Munsterland, the area of land that straddles the German Dutch border was known for cotton. The soil was not fertile and from the 16th century additional income was gained from flax production to make linen, which was woven into a rough sail cloth. With the 19th century Bocholt was producing fustian (tree silk), a compound cloth of linen warp and cotton weft. This was exported.

Some of the oldest surviving African textiles were discovered at the archaeological site of Kissi in northern Burkina Faso. They are made of wool or fine animal hair in a weft-faced plain weave pattern. Some fragments have also survived from the thirteenth century Benin City in Nigeria. Historically textiles were used as a form of money since the fourteenth century in West Africa and Central Africa.

A Dandy loom was a hand loom, that automatically ratchetted the take-up beam. Each time the weaver moved the sley to beat-up the weft, a rachet and pawl mechanism advanced the cloth roller. In 1802 William Ratcliffe of Stockport patented a Dandy loom with a cast-iron frame. It was this type of Dandy loom that was used in the small dandy loom shops.

Brilliantine is a lightweight, mixed-fibre fabric popular from the mid-19th century into the early 20th century. Brilliantine can be plain or twill woven with a wool or mohair weft on a silk or cotton warp. Brilliantine has a lustrous finish and is known for its dust-shedding properties; it was available in solid colors or printed, and was used for dresses, dusters, and linings.

Munsterland, the area of land that straddles the German Dutch border was known for cotton. The soil was not fertile and from the 16th century additional income was gained from flax production to make linen, which was woven into a rough sail cloth. With the 19th century Bocholt was producing fustian (tree silk), a compound cloth of linen warp and cotton weft. This was exported.

Changeable moire is a term for fabric with a warp of one color and a weft of another, which gives different effects in different lights. Moire fabric is more delicate than fabric of the same type that has not gone through the calendering process. Also, contact with water removes the watermark and causes staining. Moire feels thin, glossy and papery due to the calendering process.

Females usually assist in reeling the tussar threads holding 'natai' in their right hand and unwinding the thread around the cocoons with their other hand. Twisting the filament, the weaver winds the yarns on the wooden 'natai' at a continuous speed. Embellishments are done by hand, either with extra weft or extra warp with a 'bandha' pattern in hand. The embellishments increase the value of the fabric.

When yarn enters a weaving mill on different-sized cops and cheeses, it is rewound on to pirns to fit the shuttles used by the looms. Bancroft Shed bought its weft "shuttle ready" on pirns in 1920; there was no winding on site. Pirning was started and, in 1970, the mill used Britoba pirn winders. The pirns were carried in two types of shuttles.

It is in the collection of the Science Museum in London, England. By raising different (not just alternate) warp threads and using colored threads in the weft, the texture, color, design, and pattern can be varied to create varied and highly desirable fabrics. Weaving elaborate patterns or designs manually is a slow, complicated procedure subject to error. Jacquard's loom was intended to automate this process.

Both are floor looms in which every warp thread on the loom is attached to a single shaft using a device called a heddle. A shaft is sometimes known as a harness. Each shaft controls a set of threads. Raising or lowering several shafts at the same time gives a huge variety of possible sheds (gaps) through which the shuttle containing the weft thread can be thrown.

Alternating wales of red and white knit stitches. Each stitch in a wale is suspended from the one above it. In weaving, threads are always straight, running parallel either lengthwise (warp threads) or crosswise (weft threads). By contrast, the yarn in knitted fabrics follows a meandering path (a course), forming symmetric loops (also called bights) symmetrically above and below the mean path of the yarn.

Hardanger embroidery is a style of drawn thread work that is most popular today. It originally comes from Norway, from the traditional district of Hardanger. The backbone of Hardanger designs consists of satin stitches. In geometrical areas both warp and weft threads are removed and the remaining mesh is secured with simple weaving or warping or with a limited number of simple filling patterns.

John Ramsbottom (11 September 1814 - 20 May 1897) was an English mechanical engineer. Born in Todmorden, then on the county border of Yorkshire and Lancashire. Ramsbottom was the son of a steam cotton mill owner. He learned about steam engines, rebuilding his father's and also invented the weft fork (this has also been attributed to James Bullough) that enabled looms to be run at high speed.

Drawn thread work or dragværk, another whitework technique, dates from the second half of the 18th century. Employing the warp and weft approach, white thread is drawn across the width of the white linen before figures such as animals are sewn in. The embroidery follows the length and intersections of the fabric. The remaining threads can be decorated in different designs with buttonhole stitches.

Smaller triangular elements of the design and the outlines of the animals are woven in offset knotting. By its colours, the carpet has been localized to Central Anatolia. On the reverse of the carpet, additional wefts can be seen meandering over two warps after about every 22 regular wefts. The additional weft changes its colour from yellow to red, roughly at the middle of the carpet.

Atlas Mill was used for spinning fine counts of twists and weft from Egyptian cotton. In 1951 it was spinning Egyptian yarns of counts 60 to 100, using both ring and twist spindles. In 1987 it was spinning & winding artificial fibres. The latter utilised advanced German designed Schlafhorst Winding Machinery but as late as 1982 Mather & Platt 1897 winding frames were still used as backup.

The mating system is heterothallic. Infected larvae appear shrunken, pale buff, covered by a weft of hyphae, with or without the production of ascomata. The ascomata are greenish (immature) to black (mature) spore cysts produced on aerial hyphae above the larval cuticle, measuring 40–119 µm in diameter. The spore wall is pale greenish to yellowish- brown, nearly smooth with minute punctae at high magnification.

Looms do not vary greatly in essential details, but they do vary in size and sophistication. The main technical requirement of the loom is to provide the correct tension and the means of dividing the warps into alternate sets of leaves. A shedding device allows the weaver to pass wefts through crossed and uncrossed warps, instead of laboriously threading the weft in and out of the warps.

The primary input to make this fabric is woven unbleached cotton fabric or saree in which the warp and weft are made of 80s and 100s combed /carded yarn respectively. Then this fabric is subjected to the tie and dye process. The fabric is first bleached and printed with motifs. Then it is subject to the process of tying the knot called as "putta" or "bandhani" work.

Calico originated in Calicut (from which the name of the textile came) in southwestern India (in present-day Kerala) during the 11th century, where the cloth was known as "chaliyans". It was mentioned in Indian literature by the 12th century when the writer Hēmacandra described calico fabric prints with a lotus design.Encyclopædia Britannica (2008). "calico". Calico was woven using Sūrat cotton for both the warp and weft.

Haircloth is a stiff, unsupple fabric typically made from horsehair and/or from the wooly hair of a camel. Although horsehair generally refers to the hair of a horse's mane or tail, haircloth itself is sometimes called horsehair. Horse or camel hair woven into haircloth may be fashioned into clothing or upholstery. In tailoring applications, haircloth is woven using cotton warp and horsehair weft.

They were then placed on a vertical loom constructed from wood whereupon women would use a stick to beat the weft into place. The resulting cloths were used in rugs, carpets and tents. Tents were usually made up of naturally colored cloths, whereas rugs and carpets used dyed cloths; mainly red and yellow. The dyes were fashioned from desert herbs, with simple geometrical designs being employed.

The fisherman would sit in a canoe at one bank, and a pulley was attached to the opposite shore. When the net was tugged upon by the fish, the fisherman would haul in the float line with the pulley to remove the catch. Minnows were also caught for drying. They were captured with a fish trap made of willow rods and pine root weft.

Cloth of gold woven with golden strips Cloth of gold or gold cloth is a fabric woven with a gold-wrapped or spun weft—referred to as "a spirally spun gold strip". In most cases, the core yarn is silk wrapped (filé) with a band or strip of high content gold. In rarer instances, fine linen and wool have been used as the core.

Detail from the "", depicting animal and hunting scenes. Northwestern Iran, 16th century. Warp and weft: wool; pile: wool; knot: asymmetrical. The carpet once covered the floor of the collegiate church of Mantes-la-Jolie (Yvelines, France), hence its name. (Louvre). Numerous carpets (between 1500 and 2000) have been conserved since the Safavid period, but the dating and establishment of the origin of these carpets remains very difficult.

Young woman from Kambera, Sumba, wearing an ikat garment and with the warp for a cloth tied and ready for dying. 1931 Tenancingo, Mexico Ikat created by dyeing the warps (warp ikat) is simpler to make than either weft ikat or double ikat. First the yarns--cotton, silk, wool or other fibres—are wound onto a tying frame. Then they are separated into bundles.

In a typical frame loom, as used previous to the invention of the flying shuttle, the operator sat with the newly woven cloth before him or her, using treadles or some other mechanism to raise and lower the heddles, which opened the shed in the warp threads. The operator then had to reach forward while holding the shuttle in one hand and pass this through the shed; the shuttle carried a bobbin for the weft. The shuttle then had to be caught in the other hand, the shed closed, and the beater pulled forward to push the weft into place. This action (called a "pick") required regularly bending forward over the fabric; more importantly, the coordination between the throwing and catching of the shuttle required multiple operators if the width of the fabric exceeded that which could be reasonably reached across (typically or less).

Moire ribbons Moire ( or ), less often moiré, is a textile with a wavy (watered) appearance produced mainly from silk, but also wool, cotton and rayon. The watered appearance is usually created by the finishing technique called calendering. Moire effects are also achieved by certain weaves, such as varying the tension in the warp and weft of the weave. Silk treated in this way is sometimes called watered silk.

For one hundred years the weaving sheds of Lancashire had been equipped with cast iron constructed looms not dissimilar to the original Roberts loom, invented by Richard Roberts. They were driven by leather belts from line shafts. They were closely packed together in pairs with a narrow alley. One weaver was responsible for four looms; it was her duty to replace the weft in the shuttle when it ran out.

The weavers were represented by the Amalgamated Weavers' Association. The more looms system was one management inspired solution to bring more looms into production using a reduced number of weavers overall. The Lancashire cotton industry had considered re-equipping with the Northrop automatic loom with automatic weft stop and shuttle replenishment. Experiments in 1932 showed that with Northrops a weaver could tenter 40 looms though 24 was more usual.

Two identical panels are dyed, woven, and then joined. Because the technique is very labor-intensive, the designer, usually the weaver, generally does the setting out and dyeing simultaneously such that two textiles are constructed at the same time. Women's skirts, the lau, are a plain weave with a variety of decorative techniques added, including embroidery, the application of shells and beads, the supplementary weave of the weft, and, occasionally, ikat.

The stocking frame was a mechanical weft-knitting knitting machine used in the textile industry. It was invented by William Lee of Calverton near Nottingham in 1589. Framework knitting, was the first major stage in the mechanisation of the textile industry at the beginning of the Industrial Revolution. It was adapted to knit cotton, do ribbing and by 1800, with the introduction of dividers (divider bar) as a lace making machine.

Originally, power looms used a shuttle to throw the weft across, but in 1927 the faster and more efficient shuttleless loom came into use. Sulzer Brothers, a Swiss company had the exclusive rights to shuttleless looms in 1942, and licensed the American production to Warner & Swasey. Draper licensed the slower rapier loom. Today, advances in technology have produced a variety of looms designed to maximise production for specific types of material.

The tightening is simply a normal behavior of a cylindrical, helically wound braid, usually the common biaxial braid. Pulling the entire braid lengthens and narrows it. The length is gained by reducing the angle between the warp and weft threads at their crossing points, but this reduces the radial distance between opposing sides and hence the overall circumference. The more one pulls, the more the circumference shrinks and the trap tightens.

Coyote's Game. Accessed 26 December 2007. The ratio of weft to warp threads had a fine count before the Bosque Redondo internment and declined in the following decades, then rose somewhat to a midrange ratio of five to one for the period 1920-1940. 19th-century warps were colored handspun wool or cotton string, then switched to white handspun wool in the early decades of the 20th century.

Handheld weaving sticks are similar to the pegs, but tapered at the hole end and pointed at the other end. Plastic looms are also made for the educational market. Double-length warp threads are threaded through the hole in each peg or stick, and the loose ends knotted. The pegs are inserted into the loom, or the sticks are handheld, and the weft thread is woven around the pegs or sticks.

Once twine is produced, it can be used to produce other forms of function, most commonly textiles and basketry. The spun twine is then combined using a process called twining in order to produce both types of object. The primary constituents of this twining process are known as the warp and weft or the foundation and stitch. Objects created with this method using varying techniques may also host unique structural decoration.

Samite is still used in ecclesiastical robes, vestments, ornamental fabrics, and interior decoration.George E. Linton, The Modern Textile Dictionary, NY, 1954, pg. 561 Structurally, samite is a weft-faced compound twill, plain or figured (patterned), in which the main warp threads are hidden on both sides of the fabric by the floats of the ground and patterning wefts, with only the binding warps visible.Anna Muthesius, "Silk in the Medieval World".

The word masakhet () appears in the Hebrew Bible denoting web or texture (). The plain Hebrew meaning of the word is a framework of warp and weft used in weaving. It also refers to a work of in-depth examination of a topic comprising a framework of discussions, research and conclusions. It refers in particular to the sections of the Mishnah, Tosefta, Beraita, and Gemara of the Babylonian and Jerusalem Talmuds.

The song "That Alice" on Laura Veirs' album Warp and Weft is about Coltrane. Orange Cake Mix included a song entitled "Alice Coltrane" on their 1997 LP Silver Lining Underwater. Poet giovanni singleton's book Ascension includes 49 poems written daily after Alice Coltrane's death. Cauleen Smith's conceptual art exhibition Give It or Leave It featured two films, "Pilgrim" (2017) and "Sojourner" (2018), exploring Alice Coltrane's music and ashram.

Lace wigs are quickly becoming one of the most sought-after wigs among wig wearers. The illusion of hair growing from the scalp is the feature that makes this wig the best of the best when it comes to wearing fake hair. These wigs are made with a French or Swiss lace material base. They are made as a full lace or partial lace front with a stretch weft back.

Cambodia, Khmer, 1880–1910, silk with weft ikat, Honolulu Academy of Arts The art produced in Southeast Asia includes the art from eleven countries that form Southeast Asia. India of South Asia was historically one of the top sellers in art in Southeast Asia, although there had been indigenous art in the region that predated Indian influence. The art is inspired by many different countries around the world.

The count of the weft of cotton or silk yarn used varies from 2/40S to 2/80S. The fabric is woven by women, and is used by them during marriages and other festivities. The fibre used to make the yarn is a derivative of “Lashing” (Cotton ball) and “Kabrang” (Mulberry cocoon). It is also extracted from the bark of the tree species, locally called as "Santhak" (Urtica sp.).

Later, n the 1920s and 1930s they followed Sarouk patterns.Stone, P., Oriental Rugs: An Illustrated Lexicon of Motifs, Materials, and Origins Initially yarns were dyed with natural, plant-based dyes, but soon, as elsewhere, they changed to chemically-dyed yarns. The original wool on wool fabric was replaced to a combination of lamb's wool for the weft and cotton or linen for the warp.Encyclopédie méthodique, ou, par ordre de matières, vol.

Bakhtiari carpets are based on a cotton foundation (warp) with a wool weft usually taken from the herds of the producing tribe. This leads to unique carpets that differ depending on the characteristics of each tribe's wool. The wool can range from dull to extreme glossy and the resultant pile is clipped medium to high. The best carpets with the highest knot density are often known as Bibibaff.

Norwegian national costume Side view of tablet weaving Tablet Weaving (often card weaving in the United States) is a weaving technique where tablets or cards are used to create the shed through which the weft is passed. As the materials and tools are relatively cheap and easy to obtain, tablet weaving is popular with hobbyist weavers. Currently most tablet weavers produce narrow work such as belts, straps, or garment trims.

Before 1720, the handloom weaver spent part of each day visiting neighbours buying any weft they had. Carding and spinning could be the only income for that household, or part of it. The family might farm a few acres and card, spin and weave wool and cotton. It took three carders to provide the roving for one spinner, and up to three spinners to provide the yarn for one weaver.

The "face" is a weaver's term that refers to whether the warp or weft dominates the fabric. The three-dimensional face/texture of waffle make it more absorbent and a useful fabric. Waffle fabric is usually made of cotton or microfibre and is woven in a way that makes it very absorbent. The waffle weave also allows air to flow through the fabric so that it dries quickly.

This process was invented in the Heavy Woollen District of West Yorkshire and created a microeconomy in this area for many years. Worsted is a strong, long-staple, combed wool yarn with a hard surface. Woolen is a soft, short-staple, carded wool yarn typically used for knitting. In traditional weaving, woolen weft yarn (for softness and warmth) is frequently combined with a worsted warp yarn for strength on the loom.

The Manchester Guardian was founded in 1821, and in 1823 Taylor gave up his partnership with Shuttleworth, dealing in cotton, twist and weft, to become its full-time editor. In 1824 the Circle took control of the Manchester Gazette, with Prentice becoming its editor. In 1828 Prentice and the Circle's vehicle shifted to the Manchester Times.Michael J. Turner, Before the Manchester School: Economic Theory in Early Nineteenth- Century Manchester, History Vol.

John Wiley and Sons, 1998 The jenny worked in a similar manner to the spinning wheel, by first clamping down on the fibres, then by drawing them out, followed by twisting. It was a simple, wooden framed machine that only cost about £6 for a 40-spindle model in 1792, and was used mainly by home spinners. The jenny produced a lightly twisted yarn only suitable for weft, not warp.

Fibre fabrics are web-form fabric reinforcing material that has both warp and weft directions. Fibre mats are web-form non-woven mats of glass fibres. Mats are manufactured in cut dimensions with chopped fibres, or in continuous mats using continuous fibres. Chopped fibre glass is used in processes where lengths of glass threads are cut between 3 and 26 mm, threads are then used in plastics most commonly intended for moulding processes.

The weavers use white weft to tone down the colors of the warp. The artisans do not have any idea about the market and have no connections through which they can do business themselves. The designs are given by the market to the Society and Sahukars who pass on the design to the artisans. Very few artisans get the privilege design their own fabrics. Process Warping – Warping is done on the ‘addas’.

The first European to describe geringseng was W.O.J Nieuwenkamp; he discovered where they came from and made a journey to Tenganan. The weaving technique is the dying of the thread is complex and ritualized, as described in the page on geringsing. Once dyed, the warp is laid out on the loom and the cloth is woven in a loose balanced weave. The pattern is carried by both the warp and the weft.

Thomas Highs, sometimes spelled Thomas Hayes, was born in Leigh, Lancashire in 1718 and lived most of his life there. It is said he was a reed maker. The reed is a comb-like strip attached to the batten of a loom, which keeps the warp threads apart and helps the weaver pack the weft threads tightly on the newly-woven cloth. He married Sarah Moss on 23 February 1747, at Leigh Parish Church.

The word selvedge is derived from self-edge, the edge of the cloth where the weft is turned back as it returns through the shed. The selvedge would often have a brand name or the country of origin woven into it. On the left side of the loom is the patent four-shuttle drop box motion incorporating a foot pedal. This is part of an escape mechanism in case the shuttle becomes trapped.

Velvet pile is created by warp or vertical yarns and velveteen pile is created by weft or fill yarns. Velvet can be made from several different kinds of fibers, traditionally, the most expensive of which is silk. Much of the velvet sold today as "silk velvet" is actually a mix of rayon and silk. Velvet made entirely from silk is rare and usually has market prices of several hundred US dollars per yard.

Then the raised warp threads are lowered, the alternate warp threads are raised, and the weft thread is passed through the shed in the opposite direction. With hundreds of such cycles, the cloth is gradually created. The Most Famous Image in the Early History of ComputingFrom cave paintings to the internet at HistoryofScience.com This portrait of Jacquard was woven in silk on a Jacquard loom and required 24,000 punched cards to create (1839).

Kani shawl is made from pashmina on a handloom. But instead of a shuttle used in regular pashmina shawls, Kani shawls use needles made from cane or wood. The distinguishable, Mughal patterns, usually of flowers and leaves, are woven into the fabric like a carpet, thread by thread, based on the coded pattern called 'Talim'. The talim guides the weaver in number of warp threads to be covered in a particular colored-weft.

V&A; T.166-1961. Sets of bed hangings embroidered in crewel wools were another characteristic product of the Stuart era. These were worked on a new fabric, a natural twill weave from Bruges with a linen warp and cotton weft. Crewel wools of the 17th century were firmly twisted unlike the soft wools sold under that name today, and were dyed in deep rich shades of green, blue, red, yellow, and brown.

Moore had considerable influence in the development of Navajo rugs as a form of art. Both the Two Gray Hills and the Crystal styles of rug evolved from Moore's designs. Until the 1930s the Crystal rugs were bordered, with a central design woven in natural colors, sometimes with some red. After this, the style changed to banded rugs with distinctive "wavy" lines made by alternating weft strands in two or three different colors.

Flokati are often made from wool. Flokati were popular in the 1970s. The word first appeared in English in 1967.American Import & Export Bulletin 58-59:672 The term was created by the Greek Ministries of Finance, Industry, and Commerce to apply to a rug with certain specifications: hand woven in Greece, made of 100% wool (warp, weft, and pile), with total weight of at least 1800 grams of wool per square meter.

The finest quality of mat, the masland, derives its name from the Persian word masnad, which means throne. Masland mats originated in the Muslim period, when the finest mats were produced in Medinipur with a silk weft, under the patronage of the royal community of that time. The Medinipur district village of Maslandpur, located close to Tamluk subdivision, probably takes its name from the masland mat. Mats were collected as revenue under the jaigirdari system.

James Caird was born in Dundee, and was the son of Edward Caird (1806–1889) who had founded the firm of Caird (Dundee) Ltd in 1832. The business was originally based in a 12 loom shed at Ashtown Works. The elder Caird was one of the first textile manufacturers to weave cloth composed of jute warp and weft. As the use of jute became increasingly popular, the Caird business expanded and thrived.

Hattersley & Sons, Domestic Loom, built under licence in 1893, in Keighley, Yorkshire. A woman in Konya, Turkey, works at a vertical loom A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

Ply represents how many fibers are twisted together as the sheet is being created. A 2 ply 300 thread count sheet will feel heavier than a single ply 600 thread count sheet. The most common constructions are muslin, percale, sateen, flannel, and knitted jersey. In a plain weave the warp and weft cross each other one at a time, and sateen, has multiple threads (usually three or four) over, and one under.

The term tapestry is also used to describe weft-faced textiles made on Jacquard looms. Before the 1990s tapestry upholstery fabrics and reproductions of the famous tapestries of the Middle Ages had been produced using Jacquard techniques but more recently, artists such as Chuck Close, Patrick Lichty, and the workshop Magnolia Editions have adapted the computerised Jacquard process to producing fine art.Sheets, Hilarie M. "Looms with a View". Retrieved 2013-02-13.

One method of making a weft pile on a hand loom. Pile fabrics were originally made on traditional hand looms. The warp ends that are used for the formation of the pile are woven over metal rods or wires that are inserted in the shed (gap caused by raising alternate threads) during weaving. Warp pile weaves may also be made on handlooms by winding the pile yarn around a rod during weaving.

Ruskin lace is in fact a near-modern form of it. Warp and weft threads are removed, and the remaining threads are overcast with buttonhole stitches, as in needlelace. Another embroidery style that combines drawn thread work with needlelace techniques is Hedebo from Denmark, which originates from the area around Copenhagen and Roskilde. It uses techniques that are clearly distinct from reticella and traditional Italian neddlelace on the one hand and Hardanger on the other.

Historical reenactment of wig making in Colonial Williamsburg, Virginia In the 18th and 19th centuries, wig makers were called perruquiers. There are two methods of attaching hair to wigs. The first and oldest is to weave the root ends of the hair onto a stretch of three silk threads to form a sort of fringe called a "weft". The wefts are then sewn to a foundation made of net or other material.

Handloom sari weaving is generally a family enterprise and one of India's cottage industries."Origin of Handloom Sarees" The handloom saris are made from silk or cotton threads. The handloom weaving process requires several stages in order to produce the final product. Traditionally the processes of dyeing (during the yarn, fabric, or garment stage), warping, sizing, attaching the warp, weft winding and weaving were done by weavers and local specialists around weaving villages.

Loop weaving is done by pulling the weft strings over a gauge rod, creating loops of thread facing the weaver. The rod is then either removed, leaving the loops closed, or the loops are cut over the protecting rod, resulting in a rug very similar to a genuine pile rug. Hand-woven pile rugs are produced by knotting strings of thread individually into the warps, cutting the thread after each single knot.

A Yuruk rug, circa 1880 A Yürük rug is a traditional tribal rug woven in Anatolia by the Yörüks, a Turkish ethnic subgroup. Yürük rugs have a long shaggy pile, tied with Ghiordes knots. The warp and the filler (the weft between the knots) is generally composed of sheep's wool or goat hair. The rugs have large geometric motifs in bright colors on a dark brown background; the colors are often described as brilliant.

Dawn Mill was built on the site of Shaw Mill at the "dawn" of the 20th century and equipped with mule weft spindles in 1950. The industry peaked in 1912 when it produced 8 billion yards of cloth. The Great War of 1914–18 halted the supply of raw cotton, and the British government encouraged its colonies to build mills to spin and weave cotton. The war over, Lancashire never regained its markets.

The spinning jenny would not have been such a success if the flying shuttle had not been invented and installed in textile factories. Its success was limited in that it required the rovings to be prepared on a wheel, and this was limited by the need to card by hand. It continued in common use in the cotton and fustian industry until about 1810. and could produce both weft and warp for the woollen industry.

That is, each small design element in each colour was individually tied in the warp and weft yarns. It's an extraordinary achievement in the textile arts. These much sought after textiles were traded by the Dutch East Indies company for exclusive spice trading rights with the sultanates of Indonesia. The double ikat woven in the small Bali Aga village, Tenganan in east BaliBalinese Textiles; Brigitta Hauser-Schaublin, Marie-Louise Nabhollz-kartaschoff, Urs Ramseyer.

In tailoring, a floating canvas refers to a fabric panel sewn inside the front of a suit jacket or coat. The floating canvas adds structure to the front panel of a jacket, and ensures that the jacket drapes properly and maintains its shape over time. It is traditionally made from horsehair, woven together with wool, cotton, linen, or synthetic fibers. The horsehair is used on the weft, and the other fabric on the warp.

If, however, the rapier is too stiff then it will not coil; if it is too flexible, it will buckle. Rigid and flexible rapier machines operate at speeds ranging from about 200 to 260 ppm, using up to 1,300 metres of weft yarn every minute. They have a noise level similar to that of modern projectile looms. They can produce a wide variety of fabrics ranging from muslin to drapery and upholstery materials.

Woollen yarn Shoddy or recycled wool is made by cutting or tearing apart existing wool fabric and respinning the resulting fibers. As this process makes the wool fibers shorter, the remanufactured fabric is inferior to the original. The recycled wool may be mixed with raw wool, wool noil, or another fiber such as cotton to increase the average fiber length. Such yarns are typically used as weft yarns with a cotton warp.

Cassell & Co., 1922, pp. 25-29. In 1853, the Illustrated Family Paper started publication, aiming to provide literary recreation for a family audience. It included not just educational articles but serialisations of novels as well. One of these, The Warp and the Weft, a tale about Lancashire mill workers by John Frederick Smith, appeared during the Lancashire Cotton Famine, and inspired readers of the paper to contribute a large sum to a relief fund for cotton workers.

For 100 years the weaving sheds of Lancashire had been equipped with cast iron constructed looms not dissimilar to the original Roberts loom, invented by Richard Roberts. They were driven by leather belts from line shafts. They were closely packed together in pairs separated a narrow alley. One weaver was responsible for four looms; it was her duty (they were almost always girls or women) to replace the weft in the shuttle when it ran out.

The weaving survives in a few villages like Pochampally, Koyalgudam, Choutuppala, Siripuram, Bhuvanagiri, Puttapaka and Gattuppala and few villages around them mostly in Nalgonda district. Pochampally Ikat uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weave them together globally known as double ikat textiles. The fabric is cotton, silk and sico – a mix of silk and cotton. Increasingly, the colours themselves are from natural sources and their blends.

The amount of twist also affects the yarn in terms of stretchiness, strength, halo, and many other attributes. Filling or weft yarns usually have fewer twists per inch because strength is not as important as with warp yarns, and highly twisted yarns are, in general, stronger. Warp yarns have to be stronger so that they can withstand the tension of the loom. Filament fibers, such as silk, or many synthetics, need only be twisted slightly to create a yarn.

A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three- ply). A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap.

Thus weaving cotton clothes is the principal domain of the Mising weaver. She has good traditional knowledge of natural dyes. The Mising also have a special and complex blanket called gadu, fluffy on one side, and woven on a traditional loin loom. The warp consists of cotton spun into thick and strong yarn, and the weft of cotton turned into soft yarn and cut into small pieces for insertion, piece by piece, to form the fluff.

The weft was on a pirn, so she stopped the loom, found the shuttle, removed it, and bent the shuttle peg containing the pirn towards her; removed the pirn and replaced it with a fresh one. She placed a loop of thread close to the inside of the eye and in an operation called kissing the shuttle, sucked it through. The shuttle was ready. It was placed back in the sley, and all loose threads cut off and removed.

The cords pass through a guide(6) and are attached to their heddle (7) and a return weight (8). The heddles raise the warp to create the shed through which the shuttle carrying the weft will pass. A loom with a 400 hook head might have four threads connected to each hook, resulting in a fabric that is 1600 warp ends wide with four repeats of the weave going across. The term "Jacquard loom" is somewhat inaccurate.

However, improvements in spinning technology during the Industrial Revolution created cotton yarn of sufficient strength to be used in mechanized weaving. Later, artificial or man-made fibres such as nylon or rayon were employed. While most weaving is weft-faced, warp-faced textiles are created using densely arranged warp threads. In these the design is in the warp, requiring all colors to be decided upon and placed during the first part of the weaving process, which cannot be changed.

Wool-on-wool (wool pile on wool warp and weft): This is the most traditional type of Anatolian rug. Wool-on-wool carpet weaving dates back further and utilizes more traditional design-motifs than its counterparts. Because wool cannot be spun extra finely, the knot count is often not as high as seen in a "wool-on-cotton" or "silk-on-silk" rug. Wool-on-wool carpets are more frequently attributed to tribal or nomadic production.

Pazyryk Carpet, circa 400 BC. The beginning of carpet weaving remains unknown, as carpets are subject to use, deterioration, and destruction by insects and rodents. There is little archaeological evidence to support any theory about the origin of the pile-woven carpet. The earliest surviving carpet fragments are spread over a wide geographic area, and a long time span. Woven rugs probably developed from earlier floor coverings, made of felt, or a technique known as “extra-weft wrapping”.

Edges thus reinforced are called selvedges, or shirazeh from the Persian word. The remaining ends of the warp threads form the fringes that may be weft-faced, braided, tasseled, or secured in some other manner. Especially Anatolian village and nomadic rugs have flat-woven kilim ends, made by shooting in wefts without pile at the beginning and end of the weaving process. They provide further protection against wear, and sometimes include pile-woven tribal signs or village crests.

In time, the colored embroidery developed as the main characteristics of the Serbian medieval attire. The trade and custom inspection of the cloths and textiles were precisely described in the inscriptions so as a fact that they were often being given as a gift or the caravans were being looted. According to the sources, the most expensive fabric was aksamit. It was type of a brocade, interwoven with gold, having a contrast basic colors of the warp and weft.

The best known Amuzgo weaver from Xochistlahuaca is Florentina López de Jesús. Like most other girls in her area, she watched her mother weave as she sat by her side playing with skeins of cotton yarn. When she was an adult her weaving skills came to include techniques such as taffeta, simple weave, taletón (a variation of taffeta)and variations of gauze. Her specialty is gauze brocade in which various colored brocading weft threads are introduced to form designs.

A form of double-drawnwork, where both warp and weft are removed at regular intervals, consists of wrapping the remaining threads into "bundles", using embroidery thread to secure them, thus creating something similar to a net. Then embroidery threads are woven in patterns into that net using needle weaving or needle darning. The result is a pattern of the design in white (or colored, depending on ethnic region) embroidery on the "openwork" background of netted cloth.

In David Jenkins, ed.: The Cambridge History of Western Textiles, Cambridge, UK: Cambridge University Press, 2003, , p.343Dorothy K. Burnham, Warp and Weft, A Textile Terminology, Royal Ontario Museum, 1980, , p. 180. By the later medieval period, the term samite was applied to any rich, heavy silk material which had a satin-like gloss,George S. Cole, A Complete Dictionary of Dry Goods, Chicago, W. B. Conkey company, 1892 indeed "satin" began as a term for lustrous samite.

Detail of 17th-century weft-patterned orphrey created in Turkey, once adorning a chasuble created in the Polish–Lithuanian Commonwealth, National Museum in Warsaw An orphrey, also spelt orfrey or orfray, is a form of often highly detailed embroidery, in which typically simple materials are made into complex patterns. Orphreys are broad bands used on priests' albs and knights' robes. In 1182 and 1183 Henry II of England spent lavishly on orphreys.The Mercery of London, Anne F. Sutton, p.

Weaving normally begins from the bottom of the loom, by passing a number of wefts through the warps to form a base to start from. Knots of dyed wool, cotton or silk threads are then tied in rows around consecutive sets of adjacent warps. As more rows are tied to the foundation, these knots become the pile of the rug. Between each row of knots, one or more shots of weft are passed to keep the knots fixed.

The beginning of carpet weaving remains unknown, as carpets are subject to use, deterioration, and destruction by insects and rodents. Woven rugs probably developed from earlier floor coverings, made of felt, or a technique known as "flat weaving". Flat-woven rugs are made by tightly interweaving the warp and weft strands of the weave to produce a flat surface with no pile. The technique of weaving carpets further developed into a technique known as loop weaving.

Lacey knits can be achieved by slipping a stitch, picking up a stitch or knitting two together. On a frame, a tickler wire could realise individual loops and create a run that would be picked up by hand. The frame was modified by adding a tickler bar and a tuck presser, to allow held and tuck stitches. Here the weft was held in the beard and carried up to the next course where two threads were passed together.

Ms. Jager, museum guide and weaver, demonstrates weaving with a historic loom at the museum Museum guide and weaver ms Fennema demonstrates the loom. Here she battens the fabric (where the weft is pushed up against the fell of the cloth by the reed). In her left hand the shuttle (which she will propel across the loom in an instant) The building and its antique interior are the museum. There is a small collection of modern hand- woven textiles.

The cloth symbolizes high in value. Ahwepan refers to a simple design of warp stripes, created using plain weave and a single pair of heddles. The designs and motifs in kente cloth are traditionally abstract, but some weavers also include words, numbers and symbols in their work. Example messages include adweneasa, which translates as "i've exhausted my skills", is a highly decorated type of kente with weft- based patterns woven into every available block of plain weave.

Fully fashioned knitting machines are those flat knitting machines which can shape a fabric by adding and reducing stitches. This method of shaping improves the fit of an article. Flat knitting machines are those machines which produce flat fabric of even width or by increasing or decreasing the number of stitches in the rows, flat but shaped pieces of fabric to be subsequently made up by sewing. Flat machines include machines for ordinary (weft) knitting and warp knitting.

The master then dyed or printed the grey cloth, and took it to shopkeepers. Ten years later this had changed and the fustian masters were middle men, who collected the grey cloth and took it to market in Manchester where it was sold to merchants who organised the finishing. To handweave a piece of eighteenpenny weft took 14 days and paid 36 shillings in all. Of this nine shillings was paid for spinning, and nine for carding.

However, the blurriness that is so characteristic of ikat is often prized by textile collectors. Ikat is produced in many traditional textile centres around the world, from India to Central Asia, Southeast Asia, Japan (where it is called kasuri), Africa, and Latin America. Double ikats—in which both the warp and weft yarns are tied and dyed before being woven into a single textile—are relatively rare because of the intensive skilled labour required to produce them.

Textiles with a "red-brown warp and an ochre- yellow weft" were discovered in Egyptian pyramids of the Sixth Dynasty (2345–2180 BCE).Rogers, Penelope Walton, "Dyes and Dyeing". In Jenkins (2003), pp. 25–29. The chemical analysis that would definitively identify the dyes used in ancient textiles has rarely been conducted, and even when a dye such as indigo blue is detected it is impossible to determine which of several indigo-bearing plants was used.

May Beattie has defined seven classes of Kerman carpets and identified a unique structure she called the "Vase technique" characterised by three shoots of weft between rows of knots. The first and third are typically woolen and at high tension, while the second one, at low tension, is normally made of silk or cotton. Warps are markedly displaced and the Persian knot is open to the left. This technique distinguishes Kerman carpets from both the Safavid (1501-1722) and subsequent (1722-1834) periods.

The bound warp and weft threads are then sent out to the neighboring village of Bug-Bug to be dyed as indigo is forbidden to be used in Tenganan.Gittinger. M. 1979 Splendid Symbols. pp. 147 Once dyed indigo, the threads are put back on the frames and some of the ties are undone to allow the red component of the pattern to be developed. The indigo is also over-dyed by the red to give the characteristic dark rust-brown color.

Vionnet evening gown, embroidered silk net, 1931 bias of a textile runs at 45 degrees to both the warp and weft threads. Dress by Madeleine Vionnet Alongside Coco Chanel, Vionnet is credited with a move away from stiff, formalised clothing to sleeker, softer clothes. Unlike Chanel, Vionnet had little appetite for self-promotion; her retirement in 1940 marginalised her contribution to the wider movement. Madeleine Vionnet is quoted as saying that "when a woman smiles, her dress must smile with her".

The Ghiordes knot (Turkish: Gördes düğümü) or Turkish knot is one of the two most-used knots employed in knotted-pile carpets. In the Ghiordes knot, the colored weft yarn passes over the two warp yarns, and is pulled through between them and then cut to form the pile. The Turkish knot has a symmetrical structure. The Ghiordes knot is the knot used in the oldest surviving pile carpets, the fragments found in Pazyryk kurgan burial mounds, in the Altai of Central Asia.

The rollers polish the surface and make the fabric smoother and more lustrous. High temperatures and pressure are used as well, and the fabric is often damped before being run through the rollers. The end result is a peculiar luster resulting from the divergent reflection of the light rays on the material, a divergence brought about by compressing and flattening the warp and filling threads in places, thereby forming a surface which reflects light differently. The weft threads also are moved slightly.

Odisha Ikat is a kind of ikat, a resist dyeing technique, originating from Indian state of Odisha. Also known as "Bandha of Odisha", it is a geographically tagged product of Odisha since 2007. It is made through a process of tie-dying the warp and weft threads to create the design on the loom prior to weaving. It is unlike any other ikat woven in the rest of the country because of its design process, which has been called "poetry on the loom".

The typical kilt as seen at modern Highland games events is made of twill woven worsted wool. The twill weave used for kilts is a "2–2 type", meaning that each weft thread passes over and under two warp threads at a time. The result is a distinctive diagonal-weave pattern in the fabric which is called the twill line. This kind of twill, when woven according to a given sett or written colour pattern (see below) is called tartan.

After this, the style changed to banded rugs with distinctive "wavy" lines made by alternating weft strands in two or three different colors. A typical new-style Crystal rug will alternate groups of two or three wavy or solid lines with broader bands decorated with patterns representing squash blossoms or geometrical motifs. The newer rugs are woven in muted colors such as rust, rich brown and grey, but may include pastel colors. In 1944 Don Jensen bought the post, holding it until 1981.

In textile terminology, threads that run the length of the fabric (longitudinally) are warp ends. Threads running laterally from edge to edge, that is from left side to right side of the fabric as it emerges from the loom, are weft picks. Selvages form the extreme lateral edges of the fabric and are formed during the weaving process. The weave used to construct the selvage may be the same or different from the weave of the body of the fabric cloth.

In 1889, the Rambouillet Association was formed in the United States with the aim of preserving the breed. An estimated 50% of the sheep on the US western ranges are of Rambouillet blood. Rambouillet stud has also had an enormous influence on the development of the Australian Merino industry though Emperor and the Peppin Merino stud. The fleece was valuable in the manufacture of cloth, at times being woven in a mixed fabric of cotton warp and wool weft, known as Delaine Merino.

Terrycloth (close-up) Terrycloth wash mitt Terrycloth, terry cloth, terry cotton, terry towelling, terry, terry towel or simply towelling is a fabric woven with many protruding loops of thread, which can absorb large amounts of water. It can be manufactured by weaving or knitting. Terrycloth is woven on special looms that have two beams of longitudinal warp through which the filler or weft is fired laterally. The first industrial production of terrycloth towels was initiated by the English manufacturer Christy in 1850.

Several other types of hand looms exist, including the simple frame loom, pit loom, free-standing loom, and the pegged loom. Each of these can be constructed, and provide work and income in developing economies. The earliest evidence of a horizontal loom is found on a pottery dish in ancient Egypt, dated to 4400 BC. It was a frame loom, equipped with foot pedals to lift the warp threads, leaving the weaver's hands free to pass and beat the weft thread.

New types of looms and weaving techniques also played a part. Plain-woven or tabby silks had circulated in the Roman world, and patterned damask silks in increasingly complex geometric designs appear from the mid-3rd century. Weft- faced compound twills were developed not later than 600, and polychrome (multicoloured) compound twills became the standard weave for Byzantine silks for the next several centuries.Wild, John Peter. "The later Roman and early Byzantine East, AD 300–1000." In Jenkins (2003), pp.

The ends of the shuttle are bullet-shaped and metal-capped, and the shuttle generally has rollers to reduce friction. The weft thread is made to exit from the end rather than the side, and the thread is stored on a pirn (a long, conical, one-ended, non-turning bobbin) to allow it to feed more easily. Finally, the flying shuttle is generally somewhat heavier, so as to have sufficient momentum to carry it all the way through the shed.

In central Lancashire weavers subsequently switched to calico, cloth with a cotton warp and a cotton weft. In the 1790s, the demand for calico expanded and more towns switched to cotton weaving producing cloth for the emerging printing industry. Weaving cotton requires humid conditions and cotton needed to be sized, strands of warp thread were coated with a layer of paste to prevent chafing against the healds and reeds in the batten. If the size hardened it broke the thread.

The wefts are then beaten down by a comb-like instrument, the comb beater, to further compact and secure the newly woven row. Depending on the fineness of the weave, the quality of the materials and the expertise of the weavers, the knot count of a handmade rug can vary anywhere from 16 to 800 knots per square inch. When the rug is completed, the warp ends form the fringes that may be weft-faced, braided, tasseled, or secured in other ways.

When the carpets are worn, this third weft evokes a characteristic, "tram line" effect. The best known "vase technique" carpets from Kirmān are those of the so-called "Sanguszko group", named after the House of Sanguszko, whose collection has the most outstanding example. The medallion-and-corner design is similar to other 16th century Safavid carpets, but the colours and style of drawing are distinct. In the central medallion, pairs of human figures in smaller medallions surround a central animal combat scene.

The standard design of Kashmir shawl is the Kani shawl, named after the Kanihama village where it was originally produced. It is distinctive for using a variant of the "twill tapestry technique", referred to as such because of its similarity to European tapestry weaving techniques. However, it differs from tapestry weaving because the loom is horizontal instead of vertical, and its operation is closer to brocading. In Kashmiri practice, this involved each weft going over two warps then under two warps.

The film, produced by Sandow M. M. A. Chinnappa Thevar under Devar Films, had musical score by K. V. Mahadevan. Thaikku Thalaimagan was almost darkened at its exit, on 13 January 1967, for Pongal of this year. Sandow M. M. A. Chinnappa Thevar transposes skillfully the first drama between two brothers, of The Bible: Cain and Abel. Sandow, the big Tamil storyteller, borrows the main weft to include its elements which make his trademark if characteristic of its film universe.

Eolienne (also spelled aeolian) is a lightweight fabric with a ribbed (corded) surface. Generally made by combining silk and cotton or silk and worsted warp and weft, it is similar to poplin but of an even lighter weight. In common with poplin, it was originally a dress fabric and the weave combining heavier and lighter yarns created a brocade-like surface decoration and lustrous finish. This made it popular for formal gowns such as wedding attire, especially during the Edwardian era.

To begin the weaving process, Dash & Miller weave 1 or 2 inches of plain weave at the beginning of the warp. This spaces out the warp threads properly and also evens out any tension issues. They can then begin weaving the tapestry, passing the 3 colours of thread by hand through the shed created by lifting the warp threads up and down. The computer controls which threads are lifted up and down, but the weft yarns are passed through the shed by hand.

Cheap calico prints, imported by the East India Company from "Hindustan", became popular. In 1700 an Act of Parliament was passed to prevent the importation of dyed or printed calicoes from India, China or Persia. This caused grey cloth (calico that hadn't been finished - dyed or printed) to be imported instead, and these were printed in southern England with popular patterns. Lancashire businessmen produced grey cloth with linen warp and cotton weft, which they sent to London to be finished.

A specialty of the mill was 90s ply yarn, made from Egyptian yarn, for the rubber-tire manufacturers. The range of yarns produced was wide, running from 3s to 90s, and about 330,000 of the spindles were mules. The woven textile consisted mainly of print cloth in various types of construction and sateens, both woven from 34s warp and 38s weft. Practically all the goods were shipped to a factory in Moscow, in which the firm had a large interest.

Thin strips of bamboo are then lashed to the warps to maintain the pattern alignment during weaving. Patterns are visible in the warp threads even before the weft, a plain colored thread, is woven in. Some warp ikat traditions are designed with vertical-axis symmetry or have a "mirror-image" running along their long centre line. That is, whatever pattern or design is woven on the right is duplicated on the left in reverse order about a central warp thread group.

The comprehensivity of these monographs has long been noted; the Siku Quanshu Zongmu Tiyao (completed in 1798) praised them in particular. The chapter on images (Tu pu lüe 图谱略) has attracted considerable interest among art theorists. In this section, he gives images primacy in transmitting values, using metaphor that compares the images as the warp (jing 經) and the text as the weft (wei 緯).Han Si. A Chinese Word on Image: Zheng Qiao (1104-1162) and His Thought on Images.

Although a wide range of carpet and mat sizes are produced, the most common sizes found are 4 x 6 to 8 x 10 feet.3 The use of a longer pile traditionally appealed to Americans.4 The Lilihan rugs are executed using the Hamadan (single-wefted) weave, typically this means that they have one heavy cotton weft and are made with thick, first quality wool. The Lilihan rugs are the only fabrics in the Sultanabad region to be single-wefted.

The rapier moves across the width of the fabric, carrying the weft yarn across through the shed to the opposite side. The rapier is then retracted, leaving the new pick in place. In some versions of the loom, two rapiers are used, each half the width of the fabric in size. One rapier carries the yarn to the centre of the shed, where the opposing rapier picks up the yarn and carries it the remainder of the way across the shed.

Linen tester A grain of amber viewed through a linen tester A linen tester is a strong magnifier with a measuring scale and a built-in stand. The linen tester was invented to check the quality of woven fabrics. It is used in the textile industry to measure the number of weft and warp threads within a certain area of fabric. Today, it is more commonly used to measure the line width and check the registration of color separations in the field of printing and publishing.

Mockado (also moquette,Moquette has the connotation of a woolen mixture commonly used for carpeting and upholstery. moucade) is a woollen pile fabric made in imitation of silk velvet from the mid-sixteenth century.. Mockado was usually constructed with a woollen pile on a linen or worsted wool warp and woollen weft, although the ground fabric could be any combination of wool, linen, and silk. Mockado was used for furnishings and carpeting, and also for clothing such as doublets, farthingales, and kirtles.Montgomery (2007) pp.

An air-jet loom is a shuttleless loom that uses a jet of air to propel the weft yarn through the warp shed. It is one of two types of fluid-jet looms, the other being a water-jet loom, which was developed previously. Fluid-jet looms can operate at a faster speed than predecessor looms such as rapier looms, but they are not as common. The machinery used in fluid-jet weaving consists of a main nozzle, auxiliary nozzles or relay nozzles, and a profile reed.

Marcella weaving was developed by the Lancashire cotton industry in the late 18th century as a mechanised technique of weaving double cloth with an enclosed heavy cording weft. It was originally used to make imitations of the corded Provençal quilts made in Marseille, the manufacture of which became an important industry for Lancashire from the late 18th to the early 20th century. The term "marcella" is one of a number of variations on the word "Marseille". Piqué fabrics are a type of dobby construction.

The edges of a rug need additional protection, as they are exposed to particular mechanical stress. The last warps on each side of the rug are often thicker than the inner warps, or doubled. The edge may consist of only one warp, or of a bundle of warps, and is attached to the rugs by weft shoots looping over it, which is termed an “overcast”. The edges are often further reinforced by encircling it in wool, goat's hair, cotton, or silk in various colours and designs.

In the 13th and 14th centuries priests' robes and women's dresses were made of fustian, but though dresses are still made from some kinds, the chief use is for labourers' clothes. Fustian, by the 1860s referred to any cut weft cotton fabric, and its manufacture was common in towns of the fringe of the Lancashire cotton region, such as Congleton in Cheshire, Mow Cop, Staffordshire and Heptonstall in Calderdale. From 1800 to 1850 it was commonly called Baragan Fustian, and much used in Australia.

With her organization she revived and updated old techniques of hand spinning of cotton and natural dye-stuffs, and the development of synthetic dyes. Next to that she keeps up working with local styles and techniques, such as ikat, tapestry weaving and supplementary weft. By means of workshops and training her foundation has dedicated itself for high quality standards. In 1992 her work was rewarded with the Upakarta Prize of the Indonesian government, for her hard work in developing home industry in her birthplace.

Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work. More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself.

The long floats of satin-woven warp and weft threads cause soft highlights on the fabric which reflect light differently according to the position of the observer. Damask weaves appear most commonly in table linens and furnishing fabrics, but they are also used for clothing. The damask weave is used extensively throughout the fashion industry due to its versatility and high-quality finish. Damask is usually used for mid-to-high-quality garments, meaning the label tends to have a higher definition and a more “expensive” look.

Arkwright at first experimented with horses, but decided to employ the power of the water wheel, which gave the invention the name 'water frame'. For some time, the stronger yarn produced by the spinning frame was used in looms for the lengthwise "warp" threads that bound cloth together, while hand powered jennies provided the weaker yarn used for the horizontal filler "weft" threads. The jennies required skill but were inexpensive and could be used in a home. The spinning frames required significant capital but little skill.

Typically, tapestries are translated from the original design via a process resembling paint-by-numbers: a cartoon is divided into regions, each of which is assigned a solid colour based on a standard palette. However, in Jacquard weaving, the repeating series of multicoloured warp and weft threads can be used to create colours that are optically blended – i.e., the human eye apprehends the threads’ combination of values as a single colour. This method can be likened to pointillism, which originated from discoveries made in the tapestry medium.

In Jenkins (2003), p. 344. Figured (patterned) Byzantine silks of the 6th (and possibly 5th) centuries show overall designs of small motifs such as hearts, swastikas, palmettes and leaves worked in two weft colours. Later, recognizable plant motifs (such as lotus leaves and flowers) and human figures appear. Surviving textiles document a rich exchange of techniques and iconographic themes between Constantinople and the newly- Islamic textile centres of the Mediterranean and Central Asia in the years after the Muslim conquests of the 7th century.

Women may also have used designs from printed fabric for their crewel work. From surviving Colonial crewelwork and written references such as letters, it is known that most projects were embroidered on linen. However, the preferred background fabrics were fustian (a twill fabric that generally had a linen warp with a cotton weft, though may have been all cotton) or dimity (which has fine vertical ribs and resembles fine corduroy). The range of wool colors that needleworkers in colonial New England could call upon were rather limited.

In his recent work, this process involves imprinting the palette knife through a silk screen onto the warp and weft of raw, coarse canvas. The result is a dappled or “pixelated” miasma of cyan, magenta, and yellow. Thea Ballard describes Lund's regimented technique as “ascetic”: > “This method is perhaps ascetic, following strict parameters of both process > and dimension; most of his works conform to the dimensions of 8.5 x 11 > inches (such economical tendencies nod to Lund’s roots in hardcore punk and > zine-making).

The burial chamber was evidently rich in textiles, represented by many fragments preserved, or by chemicals formed by corrosion.See E. Crowfoot in Bruce-Mitford 1983 (II), 409-479. They included quantities of twill, possibly from cloaks, blankets or hangings, and the remains of cloaks with characteristic long-pile weaving. There appear to have been more exotic coloured hangings or spreads, including some (possibly imported) woven in stepped lozenge patterns using a Syrian technique in which the weft is looped around the warp to create a textured surface.

The early textile trade relied on domestic outworking. Handloom weavers would take the yarn to their cottage loom shops, and return the completed fabric to the mill. Reliable power looms that could be worked from an overhead line shaft were not available before Kenworthy and Bulloughs weft stop motion, the roller temple and the loose reed which appeared in the 1840s. The first weaving floors were on the ground floor of the existing narrow mills, where the workpiece was lit by tall exterior windows.

The surface and the yarn in these fabrics are also called "pile". In particular "pile length" or "pile depth" refer to the length of the yarn strands (half-length of the loops). Pile length affects and is affected by knot density: "The greater the knot density, the thinner the weft and warp yarns and the more weakly are they twisted; the smaller the density, the coarser are the foundation yarns,"Tzareva, Elena (1984). Rugs & carpets from Central Asia: the Russian collections, p.12-3. Penguin. .

Vestidura de calicanto, 1977; 135 x 100 cm; wool and horsehair.During her stay in Paris in the early 1970s, living in small spaces, Olga created a series of small pieces entitled Complete Fragments (1975). In this series the artist used gold for the first time, playing and experimenting with it. She also started to paint fibres with acrylic paint and gesso to obtain colors directly on the finished woven piece in order to dissolve the geometry imposed by the rigid structure of warp and weft.

Some sources dispute thisSee for example Historic Textile Research & Articles , retrieved 22 June 2007 and say that the material was too rough and would have been used instead for clothing and occasionally for light blankets. It was also used as a ground fabric for needlepoint. Linsey-woolsey was valued for its warmth, durability, and cheapness, but not for its looks. Linsey-woolsey is also sometimes used to refer to 18th century woven coverlets or bed coverings made with a linen warp and woollen weft.

Edward O. Wilson, Consilience 1998 In a similar vein, biologist Ursula Goodenough sees the tale of natural emergence as far more magical than traditional religious miracles. It is a story that people can work with in a religious way if they elect to do so.Ursula Goodenough – Sacred Depths of Nature, Oxford University Press, USA; 1 edition (June 15, 2000), Philip Hefner uses the analogy of weaving to describe the Epic. The warp anchors the story and the weft creates the pattern and the tapestry.

The term is also used in theatrical scenery construction, where a dutchman is a strip of material, usually canvas or muslin, used to cover the joint between two adjoining surfaces (such as flats). The strip is then painted or textured to match the adjoining pieces and create a seamless effect. Warp or weft threads can be removed from the edge of the dutchman to allow the edges to feather into the surrounding surface. On canvas flats, dutchman is usually applied with diluted white glue or paint.

In a twill weave, each weft or filling yarn floats across the warp yarns in a progression of interlacings to the right or left, forming a pattern of distinct diagonal lines. This diagonal pattern is also known as a wale. A float is the portion of a yarn that crosses over two or more perpendicular yarns. A twill weave requires three or more harnesses, depending on its complexity and is the second most basic weave that can be made on a fairly simple loom.

Brussels was the first type of carpet to be woven in a loom incorporating the jacquard pattern selecting mechanism and in 1849 power was applied to the loom by Biglow in the U.S.A. Later when bladed wires were developed the pile loops were severed on withdrawal of the blade wires to produce a carpet known as Wilton, after this development the loom became known as the Wilton loom, and in modern usage the designation Wilton applies to both cut-pile and loop-pile carpets made in this loom. The latter now variously described as Brussels-Wilton, round wire Wilton, loop- pile Wilton, and round wired jacquard. The methods of manufacture, including the principles of designing, preparatory processes, and weaving, are the same in most respects for both Brussels and Wilton qualities. The chief difference between them is that whereas Brussels loop-pile is secured satisfactorily by the insertion of two picks of weft to each wire (2-shot), the Wilton cut-pile is woven more often with three picks of weft to each wire (3-shot) to ensure that the tufts are firmly secured in the carpet backing.

Arrowhead weave The most basic weave is called a diagonal weave, as it creates a series of parallel lines running down the length of the weave at a diagonal. Whether one weaves from left to right or from right to left does not matter, as the pattern is the same; however, the direction must stay the same or the pattern will change. As with loom weaving, one starts with an even number of warp strands, but with no weft strand. Divide the warp strands into two groups, a top and bottom row.

Common materials for doubly curved fabric structures are PTFE-coated fiberglass and PVC-coated polyester. These are woven materials with different strengths in different directions. The warp fibers (those fibers which are originally straight—equivalent to the starting fibers on a loom) can carry greater load than the weft or fill fibers, which are woven between the warp fibers. Other structures make use of ETFE film, either as single layer or in cushion form (which can be inflated, to provide good insulation properties or for aesthetic effect—as on the Allianz Arena in Munich).

A technique to refer to and automatically download remote fonts was first specified in the CSS2 specification, which introduced the @font-face construct. At the time, fetching font files from the web was controversial because fonts meant to be used only for certain web pages could also be downloaded and installed in breach of the font license. Microsoft first added support for downloadable EOT fonts in Internet Explorer 4 in 1997. Authors had to use the proprietary WEFT tool to create a subsetted font file for each page.

In Yazhou she learnt spinning and weaving from the local Li people. Around 1295, Huang returned to Songjiang and began to teach the local women about cotton spinning and weaving technology whilst at the same time manufacturing suits, fine silk fabrics and weaving machinery (such as fluffing machines, crushers and three- spindle treadle powered weaving looms) that greatly increased efficiency. From the weaving aspect, Huang produced mixed cotton fabrics, colored fabrics and fabrics with mixed warp and weft fibers. Her weaving technology made her hometown famous and began its textile manufacturing industry.

The braiding progresses on a 'V' front, as opposed to weaving on a regular loom that progresses on a straight front. The art that is worked on the takadai is a braid, not a weave. Although many of the patterns used on this braiding stand resemble the up and down motion of a weave, since each thread takes a turn at being both the weft and the warp, it is a braid. On the takadai it is possible to make intricate patterns using a technique called "pick-up braids".

It was introduced ca.1900 and the makers claimed that a speed of 160 picks per minute could be easily attained with from 2 to 8 shafts weaving a variety of fabrics. Because foot pedals, or treadles, operate the loom it is still classed as a handloom, but it is much easier and faster to weave as all the motions of the loom are connected via crankshaft and gear wheels. Because the loom is designed to use only one shuttle when weaving, giving a solid colour in the weft, it is termed a plain loom.

Michael Adamson attributes some of his success to his studying at the Kunsthochschule Kassel, Germany in his third year at the Emily Carr University of Art and Design in Vancouver. At the school in Germany, there was a fascination among the painting student with Gerhard Richter, Adamson included. His breakthrough as a painter in Canada came in 1998 when he started to produce paintings in which he used grids to mirror the weft and weave of the canvas. His painterly signature is composed of discs of bright pigment applied to brilliantly hued canvas.

Some of the most well-known rugs of his design were made for Syon House, Osterley House, Harewood House, Saltram House, and Newby Hall. was a unique floor covering made originally in a factory founded at Axminster, Devon, England, in 1755 by the cloth weaver Thomas Whitty. Resembling somewhat the Savonnerie carpets produced in France, Axminster carpets were symmetrically knotted by hand in wool on woolen warps and had a weft of flax or hemp. Like the French carpets, they often featured Renaissance architectural or floral patterns; others mimicked oriental patterns.

A single dyeing will leave the yarn spotty in colour. More detailed designs are produced through an eight-stage process of tying and dyeing the yarn, which requires a high degree of skill and time. It is also the practice to tie the weft threads and occasionally the warp threads to transfer colour to the untied part. More colours are added by repeating the process of tying and dyeing on previously coloured parts; in this way, many colours are added to give the fabric a very bright and distinctive shade.

Five objects in the collection depict prancing, open- mouthed deer within octagons, which is the most prized design for Swedish textiles. One particularly elaborate bed covering has six octagons each containing pictorial scenes of people or horses. An interlocked tapestry depicts (mythological horses with horns) and a linen cloth with extra-weft patterning depicts lions. Dove-tail tapestries tend to be more pictorial and realistic than the other types of textiles, and this is reflected in the collection by tapestries depicting the Annunciation, red lions, and naturalistic floral arrangements.

Thread count, also called threadcount or threads per inch (TPI) is a measure of the coarseness or fineness of fabric. It is measured by counting the number of threads contained in one square inch of fabric or one square centimetre, including both the length (warp) and width (weft) threads. The thread count is the number of threads counted along two sides (up and across) of the square inch, added together. It is used especially in regard to cotton linens such as bed sheets, and has been known to be used in the classification of towels.

Glass cloth is a textile material, originally developed to be used in greenhouse paneling, allowing sunlight's ultraviolet rays to be filtered out, while still allowing visible light through to plants. The cloth is usually woven with the plain weave, and may be patterned in various ways, though checked cloths are the most common. The original cloth was made from linen, but a large quantity is made with cotton warp and tow weft, and in some cases they are composed entirely of cotton. Short fibres of the cheaper kind are easily detached from the cloth.

The "Nine Great Warps" (Девять Великих Основ, Devyat' Velikikh Osnov) constitute the ethical code of Ynglism which guides the "weft" of the destiny of the Aryans and their descendants towards perfection. Only Aryans are considered to be the offspring of the gods of the Bright Nav, while non- Aryans (black races) are considered the offspring of chthonic demons. The union of whites and blacks is held to produce wicked mixlings, the "grey race"; Abrahamic religions and the masses they persuade are believed to be essentially of a grey nature. The Warps are: 1.

Woven textile design emanates from the practice of weaving which produces fabric by interlacing a vertical yarn (warp) and a horizontal yarn (weft), most often at right angles. Woven textile designs are created by various types of looms and are now predominantly produced using a mechanized or computerized jacquard loom.Woven textile design: A woven Navajo saddle blanket from the Philbrook Museum in Tulsa, Oklahoma.Designs within the context of weaving are created using various types of yarns, utilizing variance in texture, size, and color to construct a stylized patterned or monochromatic fabric.

Qashqaï women washing wool in the spring of Sarab Bahram (Cheshm-e Sarab Bahram), region of Noorabad, Fārs province, Iran Noraduz, Armenia An oriental rug is woven by hand on a loom, with warps, wefts, and pile made mainly of natural fibers like wool, cotton, and silk. In representative carpets, metal threads made of gold or silver are woven in. The pile consists of hand-spun or machine-spun strings of yarn, which are knotted into the warp and weft foundation. Usually the pile threads are dyed with various natural or synthetic dyes.

Using cotton for warp and weft threads has also become common. The rugs produced in large numbers for export in Pakistan and Iran and sold under the name of Turkmen rugs are mostly made of synthetic colors, with cotton warps and wefts and wool pile. They have little in common with the original Turkmen tribal rugs. In these export rugs, various patterns and colors are used, but the most typical is that of the Bukhara design, which derives from the Tekke main carpet, often with a red or tan background (picture).

An important part of Bali Aga culture is the complex tie-dye technique used to make Bali's traditional geringsing double ikat. Bali's Tenganan village is the only village that today still produces geringsing. In geringsing, both the cotton warp and weft threads are carefully dyed and cross-dyed before weaving; the finished pattern only emerges as the cloth is woven. According to textile expert John Guy, "the ancestry of Balinese geringsing is far from clear, although some cloths display the unmistakable influence of patola",Guy, John, Indian Textiles in the East, Thames & Hudson, 2009, p.

In the artificial fibre and composites industries, a tow is an untwisted bundle of continuous filaments, in particular of acrylic, carbon fibres, or viscose rayon. Tows are designated either by their total tex (mass in grams per 1000 m length) or by the number of fibres they contain. For example, a 12K tow contains 12,000 fibres. Spread tow fabrics are woven sheet materials, used for composite layup, where the warp and weft are flat tows, rather than spun yarns, in order to provide the maximum strength as a composite.

A circular loom is used to create a seamless tube of fabric for products such as hosiery, sacks, clothing, fabric hose (such as fire hose) and the like. Circular looms can be small jigs used for circular knitting or large high-speed machines for modern garments. Modern circular looms use up to ten shuttles driven from below in a circular motion by electromagnets for the weft yarns, and cams to control the warp threads. The warps rise and fall with each shuttle passage, unlike the common practice of lifting all of them at once.

Both the pattern and the colour of the fabric are decided upon before being drawn onto the requisite plotting paper. #Dyeing (known as ) - the second stage of production. For a silk fabric, the yarns are first washed in soapy water, before the weft and warp yarns are dyed in a boiling dyebath, a process which requires a specialist craftsperson due to the sensitive nature of dyework. #Preparation for weaving (known as ) - the warp yarns are hooked onto the Jacquard loom, with the weaver able to manipulate the warps vertically by the use of foot pedals.

However, other traditions, such as Chinese kesi and that of Pre-Columbian Peru, make tapestry to be seen from both sizes.Osborne, 755-756 Most weavers use a natural warp thread, such as wool, linen or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives. Tapestry should be distinguished from the different technique of embroidery,Osborne, 755 although large pieces of embroidery with images are sometimes loosely called "tapestry", as with the famous Bayeux Tapestry, which is in fact embroidered.

Wool barathea evening waistcoat with silk collar and lining Barathea, sometimes spelled barrathea, is a soft fabric, with a hopsack twill weave giving a surface that is lightly pebbled or ribbed. The yarns used cover various combinations of wool, silk and cotton. Worsted barathea (made with a smooth wool yarn) is often used for evening coats, such as dress coats, dinner jackets, and military uniforms, in black and midnight blue. Silk barathea, either all silk, or using cotton weft and silken warp, is widely used in the necktie industry.

A piece of silk charmeuse fabric showing the shiny, satin front and dull, matte back Charmeuse () is a lightweight fabric woven with a satin weave, in which the warp threads cross over four or more of the backing (weft) threads. These float threads give the front of the fabric a smooth, shiny finish, whereas the back has a dull finish. Charmeuse differs from plain satin in that charmeuse has a different ratio of float (face) threads, and is of a lighter weight. Charmeuse may be made of silk, polyester, or Rayon.

Gokarneshan, N., Varadarajan, B., Sentil kumar, CB., Balamurugan, K. and Rachel, A. Engineering knits for versatile technical applications: Some insights on recent researches. Journal of the Textile Institute, 2011, p. 68. This is created through a warp-knitting thread system, which is fixed on the reverse side of the fabric with a sinker loop, and a weft thread layer. A needle with the warp thread passes through the material, which requires the warp and knitting threads to be moving both parallel and perpendicular to the vertical/warp direction of the stitch- bonding machine.

Brocade refers to the decorative elements inserted into the weft on the loom, unlike embroidery which is added to the finished cloth. The Holy of Holies was located in the westernmost end of the Temple building, being a perfect cube: 20 cubits by 20 cubits by 20 cubits. The inside was in total darkness and contained the Ark of the Covenant, gilded inside and out, in which was placed the Tablets of the Covenant. According to both Jewish and Christian tradition, Aaron's rod and a pot of manna were also in the ark.

Horesh's second book Chinese Money in Global Context (Stanford UP 2013, Economics and Finance Series) makes for a China- centered examination of the evolution of money and finance around the world since the birth of coinage in Lydia (in what is today western Turkey) and up to the present. It also situates current efforts at RMB internationalisation within the broad sweep of the post-Bretton Woods world order. His third book is Shanghai, Past and Present. It is an introduction to the warp and weft of the city's history written with non-specialists in mind.

BRIGHTBERRY BROWN [,] Red Mills, Buckingham [County, Virginia], March 14. "Jean" also references a (historic) type of sturdy cloth commonly made with a cotton warp and wool weft (also known as "Virginia cloth"). Jean cloth can be entirely cotton as well, similar to denim. Originally designed for miners, modern jeans were popularized as casual wear by Marlon Brando and James Dean in their 1950s films, particularly The Wild One and Rebel Without a Cause, leading to the fabric becoming a symbol of rebellion among teenagers, especially members of the greaser subculture.

A cottage with an attached loomshop after buildings in Fecitt Brow, Blackburn Two terraced cottages, built on top of cellar loomshops. After buildings in found in the weavers' colony at Club Houses, Church Street, Horwich, Greater Manchester. By the end of the 17th century three localised areas of textile production could be identified in Lancashire. Linen was woven in the west of the county and in Manchester while in upland Pennine regions, woollens were woven and in central Lancashire the emphasis was on fustians, cloth made with a linen warp and wool weft.

The warp refers to longitudinal cords whose characteristics of resistance and elasticity define the running properties of the belt. The weft represents the whole set of transversal cables allowing to the belt specific resistance against cuts, tears and impacts and at the same time high flexibility. The most common carcass materials are steel, polyester, nylon, cotton and aramid (class of heat-resistant and strong synthetic fibers, with Twaron or Kevlar as brand names). The covers are usually various rubber or plastic compounds specified by use of the belt.

It is similar to shantung, but slightly thicker, heavier, and with a greater slub (cross-wise irregularity) count. Dupioni is often woven with differing colors of threads scattered through the warp and weft. This technique gives the fabric an iridescent effect, similar to but not as pronounced as shot silk taffeta. Dupioni can be woven into plaid and striped patterns; floral or other intrinsic, intricate designs are better suited for lighter-weight silks and/or those with smoother finishes, although dupioni may be embroidered in any manner desired.

The Wangkhei Phee is made with very fine white cotton yarn with a closely woven texture. The interlacing of cotton weft and warp is woven by women, in series and widely spaced from each other, that makes the fabric "fully transparent". Patches are incorporated by weaving with standard designs; the designs are called Kheiroithek, ThangjingTangkhai, KabokChaiba, and several others, and all have Moirang Phee design on both of its longitudinal borders. Known as a "luxurious" cloth, it is a popular attire used by women during marriage ceremonies and festivals.

They are woven on both backstrap looms and European style looms. The groups of warp threads are then placed on the loom in order to work out the design that the body of the cloth will have. After weaving, the last rows of the weft are finger weaved to secure them, which is complicated and meticulous work, often done by women specialized in this. Isabel Rivera and Julia Sánches of Santa María have won national and international awards for their work, with the ability to weave letters into the fringes of rebozos.

The songket technique itself involves the insertion of decorative threads in between the wefts as they are woven into the warp, which is fixed to the loom. They are inserted as part of the weaving process, but not necessary in the making of the cloth. There are four types of supplementary weft weaving technique: continuous, discontinuous, inlaid and wrapped. Songket weaving is done in two stages, weaving the basic cloth with even or plain weaving and weaving the decoration inserted into basic cloth, this method is called "inlay weaving system".

Some traditional weavers weave between two poles, similar to the Oseberg loom found in Norway dating from the 9th century, and wrap the weft around the poles. Commercial "tablet weaving looms" adapt this idea, and are convenient because they make it easy to put the work down. Other weavers prefer to use "Inkle" looms, which are a more modern invention, but acts as both loom and warping board for the project. Ram's Horn pattern of tablet weaving Some patterns require weavers thread each card individually, while others allow "continuous warping".

For woven textiles, grain refers to the orientation of the weft and warp threads. The three named grains are straight grain, cross grain, and the bias grain. In sewing, a pattern piece can be cut from fabric in any orientation, and the chosen grain or orientation will affect the way the fabric hangs and stretches and thus the fit of a garment. Generally speaking a piece is said to be cut on a particular grain when the longest part of the pattern or the main seams of the finished piece are aligned with that grain.

The skeins were placed into bales and taken to the mill for processing. Three sorts of yarn were commonly produced: no-twist which was suitable for weft, tram that had received a slight twist making it easier to handle, and organizine which had a greater twist and was suitable for use as warp. Reeling is the process where the silk that has been wound into skeins, is cleaned, receives a twist and is wound onto bobbins. Silk throwing is the process where the filament from the bobbins is given its full twist.

Her particular specialty was the weaving of brocade in white and coyuche (a local brown variation) cotton with the design woven in using variously colored weft threads. In addition to traditional huipils, she produces napkins, tablecloths, rebozos and bedspreads. By special order, she has made garments with other fibers such as silk and synthetics. Her work has won a number of awards including 2nd place Gran Premio de Arte Popular, FONART in 1987, 1st place Gran Premio de Arte Popular, FONART in 1991 and Premio Nacional de Artesanias de SECOFI in 1993.

The silk is a protein, fibroin, that was cemented in place by the use of gum, another protein, sericin. The cocoons were harvested and placed in troughs of hot water to dissolve the gum and allowed the single thread to be wound into a skein. The skeins were placed into bales and taken to the mill for processing. Three sorts of yarn could be produced: no-twist which was suitable for weft, tram that had received a slight twist making it easier to handle, and organizine which had a greater twist and was suitable for use as warp.

It is difficult to determine the direction of the weaving because the selvage-edge is missing, making weft from warp indistinguishable. See Campbell 40 The cloth is Z-spun (tightly spun) and tabby woven with flax perhaps combined with cotton. The cloth support is lined, unusually, with similar but more finely woven linen mounted on a wooden stretcher. Before the paint was applied, the linen was first mounted on a temporary stretcher and outlined with a brown border – now visible on the lower border – which was used as a guide to cut the picture down before framing.

Shalini Passi is an Indian Arts Patron, philanthropist, artist, art and design collector based in Delhi. Passi held a well-received exhibition entitled 'The Warp and Weft of Perception' and a solo art exhibition of paintings titled "Through my Eyes" at the Visual Arts Gallery in New Delhi. Shalini's art collection includes works by Indian contemporary artists including Riyas Komu, M. F. Husain Anita Dube, Zarina Hashmi, Subodh Gupta, and Atul Dodiya, and Bharti Kher as well as international artists including Jeff Koons, Damien Hirst, and Vladimir Kagan. Passi is the Creative Director of Pasco group of companies.

Double Ikat weaving loom in Sambalpur, Orissa The pattern on the silk fabric evolves through a process of dyeing the warp and weft threads (yarns of very fine quality) prior to the weaving process. This differs from other methods in which yarns of various colours are woven, or in which patterns are printed on the fabric. To create the coloured design, other cloth is affixed to the yarns at specific locations on the loom. The dye is absorbed by the cloth which, when it is removed from the loom, leaves the yarn dyed at the places where it touched the yarn.

In 1830, Benjamin Outram, of Greetland, near Halifax, appears to have reattempted spinning it, and again it was condemned. These two attempts failed due to the style of fabric into which the yarn was woven—a type of camlet. With the introduction of cotton warps into Bradford trade about 1836, the true qualities of alpaca could be assessed as it was developed into fabric. It is not known where the cotton warp and mohair or alpaca weft plain-cloth came from, but it was this simple and ingenious structure which enabled Titus Salt, then a young Bradford manufacturer, to use alpaca successfully.

The silk is a protein, fibroin, that was cemented in place by the use of gum, another protein, sericin. The cocoons were harvested and placed in troughs of hot water to dissolve the gum and allowed the single thread to be wound into a skein. The skeins were placed into bales and taken to the mill for processing. Three sorts of yarn could be produced: no-twist which was suitable for weft, tram that had received a slight twist making it easier to handle, and organizine which had a greater twist and was suitable for use as warp.

Young woman from Kambera with a piece of cloth tied and ready for dying, 1931 The dominant weaving technique for the hinggi is ikat of the warp, although supplementary weaving of both the warp and weft are sometimes used. For more important textiles, the ends are finished with a tapestry weave. The process of dyeing the pattern of a particular piece of cloth involves first setting the warp up on a frame, which gives the length of the cloth. In most cases, one end mirrors the other, and the left side of a panel mirrors the right side.

Edmund Cartwright designed his first power loom in 1784 and patented it in 1785, but it proved to be valueless. In 1789, he patented another loom which served as the model for later inventors to work upon. For a mechanically driven loom to become a commercial success, either one person would have to be able to attend to more than one machine, or each machine must have a greater productive capacity than one manually controlled. Cartwright added improvements, including a positive let-off motion, warp and weft stop motions, and sizing the warp while the loom was in action.

Such distancing is typical of the Mannerist school's rejection of naturalism. Conversely, Eleanor's gown of elaborate brocaded velvet, with its massed bouclé effects of gold weft loops in the style called riccio sopra riccio (loop over loop), is painstakingly replicated.Monnas (2012), p. 20 The painting is perhaps an advertisement for the Florentine silk industry, which had fallen in popularity in the first difficult years of the sixteenth century and was revived in the reign of Cosimo I. The precious golden belt, decorated with jewels and beads with a tassel, may have been made by the goldsmith Benvenuto Cellini.

Depending on how the increase is done, there is often a hole in the fabric at the point of the increase. This is used to great effect in lace knitting, which consists of making patterns and pictures using such holes, rather than with the stitches themselves. The large and many holes in lacy knitting makes it extremely elastic; for example, some Shetland "wedding-ring" shawls are so fine that they may be drawn through a wedding ring. By combining increases and decreases, it is possible to make the direction of a wale slant away from vertical, even in weft knitting.

In the 19th century a new wig-making method began to replace the weft method most commonly used prior. A small hook called a "ventilating needle", similar to the tambour hooks used for decorating fabric with chain-stitch embroidery at that period, is used to knot a few strands of hair at a time directly to a suitable foundation material. By the 1870s, the lace machine had made lace affordable through mass production and the use of lace as foundation material for wigs entered popular use. Using lace allowed for a more natural-looking wig because the flesh-colored lace is almost imperceptible.

I wrote to the first 14 or so—and they all said yes. So I thought, 'Oh, bloody hell—I've got to write it now.' The show format was a series of pastiches, closely edited to run without gaps, ranging from a big band show from the 1950s to a period Charles Dickens saga. There was also a tale about an archetypal northern brass band ("The General Fettlers, Warp and Weft Adjusters' Band"), a documentary about a wannabe star bingo-caller on a cruise liner and a portrayal of the Women's Institutes in the guise of an American emergency hospital drama.

Lace knitting consists of making patterns and pictures using holes in the knit fabric, rather than with the stitches themselves. The large and many holes in lacy knitting makes it extremely elastic; for example, some Shetland "wedding-ring" shawls are so fine that they may be drawn through a wedding ring. By combining increases and decreases, it is possible to make the direction of a wale slant away from vertical, even in weft knitting. This is the basis for bias knitting, and can be used for visual effect, similar to the direction of a brush-stroke in oil painting.

The fabric whipcord is a strong worsted or cotton fabric made of hard-twisted yarns with a diagonal cord or rib. The weave used for whipcord is a steep- angled twill, essentially the same weave as a cavalry twill or a steep gabardine. However, the ribs of whipcord are usually more pronounced than in either of those fabrics, and the weft (filling) may be visible between the ribs on the right side, which is usually not the case for gabardines. In practice, marketing considerations, rather than technical details, determine when the specific term whipcord is used.

Manchester Guardian, (3 Dec 1883) Obituaries of Richard Haworth (1820–1883) He later took a job as a weft lad and utilised his spare hours by attending a night school. He continued to attend night school, showing an aptitude for mathematics and was transferred to the mill's basic accounts. According to records held in the national archives, when Haworth was eighteen he left to become a bookkeeper at Rylands Mill, Ainsworth, and later in 1843 became the official bookkeeper. During this time he had been developing his own business and decided to devote his time to his own business.

Generally speaking, Amritsar rugs are based upon European influence and Western taste, a decision made by the weavers following the incredible explosion in demand for carpets in both the United States and Europe during the nineteenth century.Oriental Carpets: A Complete Guide - The Classic Reference by Murray Eiland Basing design elements on Western tastes as opposed to Indian traditions, the weavers of Amritsar fashioned a style that is unique and easily distinguished from other Indian styles. Using high quality wool, Amritsar rugs are manufactured with a cotton foundation, double weft and an asymmetrical knot - all of which contribute to its luxurious feel.

The Shroud of Charlemagne, a polychrome Byzantine silk with a pattern showing a quadriga, 9th century. Paris, musée national du Moyen Âge. Of the five basic weaves used in Byzantium and the Islamic weaving centers of the Mediterranean – tabby, twill, damask, lampas and tapestry – the most important product was the weft-faced compound twill called samite. The word is derived from Old French samit, from medieval Latin samitum, examitum deriving from the Byzantine Greek ἑξάμιτον hexamiton "six threads", usually interpreted as indicating the use of six yarns in the warp.Oxford English Dictionary Online "samite" (subscription required), accessed 30 December 2010Monnas (2008), p. 297.

Close's wall- size tapestry portraits, in which each image is composed of thousands of combinations of woven colored thread, depict subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Lucas Samaras, Philip Glass, Lou Reed, Roy Lichtenstein, and Close himself. They are produced in collaboration with Donald Farnsworth. Although many are translated from black-and-white daguerreotypes, all of the tapestries use multiple colors of thread. No printing is involved in their creation; colors and values appear to the viewer based on combinations of more than 17,800 colored warp (vertical) and weft (horizontal) threads, in an echo of Close's typical grid format.

It was sold again in 1802, and by then it also housed a 336 spindle mule and an outbuilding suitable for 3 further mules. Mules were more suitable to spinning the softer weft, while water frames of throstles produced a harder twist more suitable for the warp or sewing cotton. An adjoined house that was described as a residence for a genteel family, a further cottage was used as an apprentice house. It is probable that alterations that lengthened the mill were made then. In 1823 Grove Row was constructed as a workhouse, it closed in 1838 and was converted into 5 cottages.

Vicuña's installations often consist of large wool strands of various colors and textures. In her Cloud-Net installation series, she utilized the wool of the sacred wild Andean vicuña animal (linked to her by name) in large-scale warp and weft weavings incorporated into rural and urban environments. This installation in particular linked Vicuña to the Feminist Art Movement's Pattern and Decoration Movement. In her solo exhibition at the Museum of Fine Arts Boston, she combined the use of these wool installations with projection technology and sound systems to create an immersive and atmospheric experience for museum visitors.

In modern times, the wefts can also be made (a warp is the vertical thread of a weave, the weft is the horizontal thread) with a specially adapted sewing machine, reducing the amount of hand labour involved. In the 19th century another method came into use. A small hook called a "ventilating needle" or "knotting needle", similar to the tambour hooks used for decorating fabric with chain-stitch embroidery at that period, is used to knot a few strands of hair at a time directly to a suitable foundation material. This newer method produces a lighter and more natural looking wig.

Bijar is also famous for their wet loom technique, which consists of wetting the warp, weft, and yarn with water throughout the weaving process to compact the wool and allow for a particularly heavy compression of the pile, warps, and wefts. When the rug is complete and dried, the wool and cotton expand, which results in a very heavy and stiff texture. Bijar rugs are not easily pliable without damaging the fabric. A number of different tools may be used to shear the wool depending on how the rug is trimmed as the weaving progresses or when the rug is complete.

The acme of carpet weaving art in Arasbaran is manifested in verni,K K Goswam, Advances in Carpet Manufacture, 2008, Woodhead Publishing in Textiles, p. 148 which was originated in Nagorno-Karabakh. Verni is a carpet-like kilim with a delicate and fine warp and weft, which is woven without a previous sketch, thanks to the creative talents of nomadic women and girls. Verni weavers employ the image of birds and animals (deer, rooster, cat, snake, birds, gazelle, sheep, camel, wolf and eagle) in simple geometrical shapes, imitating the earthenware patterns that were popular in prehistoric times.

In Europe, Ammophila arenaria has a coastal distribution, and is the dominant species on sand dunes where it is responsible for stabilising and building the foredune by capturing blown sand and binding it together with the warp and weft of its tough, fibrous rhizome system. Marram grass is strongly associated with two coastal plant community types in the British National Vegetation Classification. In community SD6 (Mobile dune) Ammophila is the dominant species. In the semi- fixed dunes (community SD7), where the quantity of blown sand is declining Ammophila becomes less competitive, and other species, notably Festuca rubra (red fescue) become prominent.

Before moving to Illinois, Asselin played with the short-lived American Folk Project as the singer, harmonica player, and acoustic guitar player. After turning 22, Asselin came to Illinois in search of playing blues music. He connected with the Kilborn Alley Blues Band in Champaign in 1998 and began playing shows around the area. By 2001, the band had secured its first recording session, a live session at Urbana's WEFT radio station. In 2003, after some major regional success, Kilborn Alley put their first release proper, the eponymous Kilborn Alley Blues Band on local label PeeDee Records.

Artisan meticulously tightening-up knots to protect some parts from dyes. The process will create the pattern The Ikat technique (also called "chong kiet" in Khmer) is one of the most ancient weaving techniques in the world and is used to create designs in fabrics. Artisans create a tight knot resistant to dyes which forms an original pattern with the complex intertwining of the warp thread and the weft thread. One of the most famous and gorgeous kind of silk fabrics in Cambodia is called "Hol Lboeuk" and can only be created with the Ikat technique.

Traditionally, the Rukai people’s dresses were made entirely by hand, which required the meticulous and lengthy hand work of fine craftsmen. Even though nowadays it is becoming more and more common to use computer scanning programs to design the cut and style of the clothes, and apply the embroidery and other details mechanically, handmade embroidered garments remain the most valued kind of attire among the Rukai. There are four essential manufacturing techniques: # Inlay. Inlay is a technique that using different colors of linens as weft to knit through the other linens as warp in order to create geometry patterns in the cloth.

As William James remarked, Spencer "enlarged the imagination, and set free the speculative mind of countless doctors, engineers, and lawyers, of many physicists and chemists, and of thoughtful laymen generally." The aspect of his thought that emphasised individual self-improvement found a ready audience in the skilled working class. Spencer's influence among leaders of thought was also immense, though it was most often expressed in terms of their reaction to, and repudiation of, his ideas. As his American follower John Fiske observed, Spencer's ideas were to be found "running like the weft through all the warp" of Victorian thought.

The mender will reconstruct the warp and weft to match the original weave exactly. After this is done and the garment has been pressed, the mended part will be undetectable on the outside of the fabric, though on the reverse side the restored area will be marked by long hanging threads where the re-weaving was done. These hanging threads occur because (unlike in darning work) invisible mending is done without tacking, in case it deforms the fabric. Up until the 1970s, invisible mending was common practice, but has now become a fine craft associated with tapestry weaving.

Music is a part of the warp and weft of the fabric of Nova Scotia's cultural life. This deep and lasting love of music is expressed through the performance and enjoyment of all types and genres of music. While popular music from many genres has experienced almost two decades of explosive growth and success in Nova Scotia, the province remains best known for its folk and traditional based music. Nova Scotia's folk music is characteristically Scottish in character, and traditions from Scotland are kept very traditional in form, in some cases more so than in Scotland.

Wool weaving shuttle, with pirn in middle Pirn winding A Pirn is a rod onto which weft thread is wound for use in weaving. Unlike a bobbin, it is fixed in place, and the thread is delivered off the end of the pirn rather than from the centre. A typical pirn is made of wood or plastic and is slightly tapered for most of its length, flaring out more sharply at the base, which fits over a pin in the shuttle. Pirns are wound from the base forward in order to ensure snag-free delivery of the thread, unlike bobbins, which are wound evenly from end to end.

When she has spun and piled enough yarn, the weaver turns to her loom. Horizontal ground looms are particularly common in the southern Andes, where most of the chuspas are made. Once the weaver has wraped the loom by continuously wrapping a length of yarn in a figure-eight around the bars at each end of the loom, she can begin to interlace the weft threads into the warp to create a structure. Although plain weave is the simplest and most common, weavers use a range of more complex weaving techniques in order to achieve the elaborate designs seen in chuspas and other Andean cloth.

Dragon robe of the Qianlong Emperor (1711–99) in Yunjin brocade at the Grassi Museum in Leipzig Yunjin, also called cloud brocade, is a traditional Chinese silk brocade made in Jiangsu since the end of the Song dynasty, and based on weft-weaving techniques from both the Song and Tang dynasties. It is shuttle- woven, and often incorporates gold and silver threads with the coloured silks. During the Ming dynasty, the yunjin weavers developed a technique of swivel weaving that enabled them to weave colourful designs onto a base fabric in other weaves, such as satin. Nanjing Yunjin Museum is currently the only specialized museum in Yunjin.

Denim under a microscope. Selvedge identifier visible in white at the interior of a pair of jeans Most denim made today is made on a shuttleless loom that produces bolts of fabric 60 inches or wider, but some denim is still woven on the traditional shuttle loom, which typically produces a bolt 30 inches wide. Shuttle-loom-woven denim is typically recognizable by its selvedge (or selvage), the edge of a fabric created as a continuous cross-yarn (the weft) reverses direction at the edge side of the shuttle loom. The selvedge is traditionally accentuated with warp threads of one or more contrasting colors, which can serve as an identifying mark.

Roy's Map Retrieved : 2011-02-18 An old lane ran up to the old mill site from the hamlet of Hessilhead. The loch is recorded in 1604-1608 as being well known to many weavers in the neighbourhood due to the abundance of reeds that grew there and the fact that they were used for making pirns.Dobie, Page 97 In 1874 it is recorded that the loch margin had an edging of water-lilies (Nymphaea species).Paul, Site 78 A pirn was a weaver’s spool for holding his weft yarn in the shuttle, originally made from a quill or hollow reed, in later times they were made from wood.

Schematic of stockinette stitch, the most basic weft-knit fabric The topology of a knitted fabric is relatively complex. Unlike woven fabrics, where strands usually run straight horizontally and vertically, yarn that has been knitted follows a looped path along its row, as with the red strand in the diagram at left, in which the loops of one row have all been pulled through the loops of the row below it. Because there is no single straight line of yarn anywhere in the pattern, a knitted piece of fabric can stretch in all directions. This elasticity is all but unavailable in woven fabrics which only stretch along the bias.

Sometimes cross-stitch is done on designs printed on the fabric (stamped cross-stitch); the stitcher simply stitches over the printed pattern. Cross- stitch is often executed on easily countable fabric called aida cloth whose weave creates a plainly visible grid of squares with holes for the needle at each corner. Fabrics used in cross-stitch include linen, aida, and mixed- content fabrics called 'evenweave' such as jobelan. All cross-stitch fabrics are technically "evenweave" as the term refers to the fact that the fabric is woven to make sure that there are the same number of threads per inch in both the warp and the weft (i.e.

Ride of the Valkyries (around 1890) by Henry De Groux In chapter 157 of Njáls saga, a man named Dörruð witnesses 12 people riding together to a stone hut on Good Friday in Caithness. The 12 go into the hut and Dörruð can no longer see them. Dörruð goes to the hut, and looks through a chink in the wall. He sees that there are women within, and that they have set up a particular loom; the heads of men are the weights, the entrails of men are the warp and weft, a sword is the shuttle, and the reels are composed of arrows.

1830s marcella skirt Also known as corded quilting, Marseilles work or piqué marseillais, this technique was developed in Marseille in the early eighteenth century, and became an important local industry. The two layers of plain fabric are stretched together without wadding, and intricately stitched together using backstitch, or after the mid-18th century, the more swiftly achieved running stitch. There were narrow channels in the embroidered design through which fine cord or rolled fabric was threaded using a special needle to create a three-dimensional effect. In the late 18th century the Lancashire cotton industry developed a mechanised technique of weaving double cloth with an enclosed heavy cording weft.

The areas of the fabric that are against the core or under the binding would remain undyed. In the 1941 book "Orphans of the Pacific", about Philippines, it was noted: "There are a few thousand Bagobos, who wear highly decorated clothing made of hemp fiber, all tied-and-dyed into fancy designs, and who further ornament themselves with big metal disks." Plangi and tritik are Indonesian words, derived from Japanese words, for methods related to tie- dye, and 'bandhna' a term from India, giving rise to the Bandhani fabrics of Kutch. Ikat is a method of tie-dyeing the warp or weft before the cloth is woven.

Schematic of stockinette stitch, the most basic weft-knit fabric The topology of a knitted fabric is relatively complex. Unlike woven fabrics, where strands usually run straight horizontally and vertically, yarn that has been knitted follows a looped path along its row, as with the red strand in the diagram at left, in which the loops of one row have all been pulled through the loops of the row below it. Because there is no single straight line of yarn anywhere in the pattern, a knitted piece of fabric can stretch in all directions. This elasticity is all but unavailable in woven fabrics which only stretch along the bias.

Diagram of Kilim slit weave technique, showing how the weft threads of each colour are wound back from the colour boundary, leaving a slit A Turkish kilim is a flat-woven rug from Anatolia. Although the name kilim is sometimes used loosely in the West to include all type of rug such as cicim, palaz, soumak and zili, in fact any type other than pile carpets, the name kilim properly denotes a specific weaving technique. Cicim, palaz, soumak and zili are made using three groups of threads, namely longitudinal warps, crossing wefts, and wrapping coloured threads. The wrapping threads give these rugs additional thickness and strength.

The quality of the material and the intricacy of the embroidery were often signs of the status and wealth of the wearer. The embroidery of the barong tagalog are commonly placed on a rectangular section on the front of the chest (known as pechera, "shirt front", from Spanish pecho, "chest"), and/or over the entire shirt (sabog, from Tagalog for "scattered"). They feature various embroidery techniques, including calado and doble calado ("pierced" and "double-pierced", types of openwork drawn thread embroidery), encajes de bolilio (Venetian lace), and sombrado (shadow embroidery). They can also have other kinds of ornamentation, like alforza (pleats), suksuk (weft floats), and even hand- painted designs.

Front view of a detail from a textile from Sumba depicting an ancestor figure (Marapu) using a supplementary of the warp. Back view of a detail from a textile from Sumba depicting an ancestor figure (Marapu) using a supplementary of the warp Supplementary weaving is a decorative technique in which additional threads are woven into a textile to create an ornamental pattern in addition to the ground pattern. The supplementary weave can be of the warp or of the weft. Supplementary weave is commonly used in many of thetextiles of Southeast Asia such as in Balinese textiles, the textiles of Sumba and the songket of Sumatra, Malaysia and Brunei.

The Galway shawl was woven on a hand jacquard loom in Paisley, Scotland, but used neither the design nor construction of the shawl commonly known as the Paisley shawl. The Galway shawl was woven on a cotton warp with a weft of botany wool. These reversible shawls were a solid color in the center with a decorative, multicolor, wide border; and they were fringed. The Galway shawl contained neither velvet nor fur, but it was referred to by weavers as a velvet or fur shawl because it was heavily milled in the finishing and a soft, velvet-like nap was raised on the surface.

This weave is based on the Régence weave, a kind of reps with all weft raised on the backside, which was popular during the regency of Philippe II, Duke of Orléans (lasting from 1715 to 1723). In the United States, at the end of the 19th century, the term was used in a broader sense, to describe either fabrics "extremely dainty in construction and effect" or silk shirtings. Since the beginning of the 20th century, the weave is rather found in solid fabrics for semi formal wear. By extension, the term is also used in knitting for a certain kind of bias striping, going up from left to right.

The loom used to create the panels is a small modern version of that developed by Frenchman Joseph Marie Jacquard, the son of a Lyonnais silk weaver, in 1804. His development based on earlier work by fellow Frenchmen Basile Bouchon in 1725, Jean Baptiste Falcon in 1728, and Jacques de Vaucanson in 1741. A jacquard loom is one in which a series of punched cards each corresponds to a row of the design to be woven, allowing for a greater definition of motifs. The punched cards operate a mechanism attached to the loom, controlling the pick-up of weft threads as the design evolves.

The Epic, as scientists see it, is the warp and the weft forms the pattern as each of us views it (we are all weavers) but the patterns all have the warp in common.Classic Quotations – Philip Hefner, 1997 AAAS Epic of Evolution Conference Hefner writes that stories about the evolutionary epic are redolent with ultimacy. It is not science; it is scientifically informed myth, a myth driven by the refusal to give up on the insistence that the natural world and our lives in the world have meaning and purpose. It is a mythical tale of irony and hope that fills a large space in the domain of religion-and-science.

Pibiones fabric Sardinian craftswoman The pibiones or grain weaving technique is most commonly found in the central and eastern areas of Sardinia, Italy. This is a particular type of stitched relief, where the pattern is formed from the countless grains incorporated into the cloth during weaving. These are made by twisting the weft yarn around a needle which is arranged in a horizontal position on the loom; after the thread is beat into place, the needle is then pulled away, leaving behind a raised effect (grains). Pibiones are used to decorate traditional Sardinian linen bedcovers, historically woven by young Sardinian girls to be included in their dowry (corredo).

British cloth could not compete with Indian cloth because India's labour cost was approximately one-fifth to one-sixth that of Britain's. In 1700 and 1721 the British government passed Calico Acts in order to protect the domestic woollen and linen industries from the increasing amounts of cotton fabric imported from India. The demand for heavier fabric was met by a domestic industry based around Lancashire that produced fustian, a cloth with flax warp and cotton weft. Flax was used for the warp because wheel-spun cotton did not have sufficient strength, but the resulting blend was not as soft as 100% cotton and was more difficult to sew.

Ilkal traditional saris are produced mainly on pit looms with the combination of three types of different yarns namely Silk x Silk, Silk x Cotton, Art silk x Cotton. Along with the above said yarn combination totally four different traditional designs are produced - they are Chikki Paras, Gomi, Jari and recently modified traditional design Gayathri. These saris are produced in different lengths 6.00 yards, 8.00 yards, and 9.00 yards with solid as well as contrast borders. The main distinction in these saris is its attached temple type Pallav (locally called as TOPE TENI) by inter locking body warp and pallav warp using loop system and inserting weft by three shuttles using two different colours yarn by Kondi technique.

In 1973, she rejoined ROM to curate a string of exhibitions and publications, notably Cut My Cote (1973), which revealed basic garment constructions shared the world over, and the influence of weave on costume cut. Following her retirement from the ROM in 1977, she published Warp & Weft: A Dictionary of Textile Terms (1981) a work which advanced the standardization of terminology in the emerging discipline of textile studies. She undertook further research and exhibition projects with the National Gallery of Canada, the Provincial Museum of Alberta and the Canadian Museum of Civilization. These include studies of the painted caribou-skin coats of the Montagnais- Naskapi tribe of the Quebec-Labrador area and of the textile traditions of the Doukhobors.

Only a few of his works originated as piano pieces, though in due course almost all of them were, in his phrase, "dished up" in piano versions. The conductor John Eliot Gardiner describes Grainger as "a true original in terms of orchestration and imaginative instrumentation", whose terseness of expression is reminiscent in style both of the 20th-century Second Viennese School and the Italian madrigalists of the 16th and 17th centuries. Malcolm Gillies, a Grainger scholar, writes of Grainger's style that "you know it is 'Grainger' when you have heard about one second of a piece". The music's most individual characteristic, Gillies argues, is its texture – "the weft of the fabric", according to Grainger.

In 1999, Dr. Alvord was the recipient of the American Medical Writers Association the 2000 Will Solimene Award of Excellence, for the publication "Warp and Weft", an excerpt from The Scalpel and the Silver Bear. In 2000, Dr. Alvord was the recipient of Circles Book Award from Georgia College and State University for her autobiography, The Scalpel and the Silver Bear. In 2003, Dr. Alvord was the recipient of Veterans Affairs Federal Appreciation Award, The White River Junction Veterans Affairs Medical Center. In 2013, Dr. Alvord's philosophy has earned her recognition, as the National Indian Health Board and the National Congress of American Indians have both endorsed her to be Surgeon General of the United States.

Today the Baandha fabric is popularly known by its geographical and cultural name Sambalpuri owing to the pioneering efforts of Sri Radhashyam Meher, who brought about a radical improvement in the skills of the craftsmen and the quality of the products. Other master craftsmen who contributed to the development of Sambalpuri textiles were Padmashree Kailash Chandra Meher, Padmashree Kunja Bihari Meher, Padmashree Chatrubhuja Meher and Padmashree Krutharth Acharya. Sambalpuri textiles today include furnishing materials, dress materials and saris in silk, cotton and mercerised cotton in a variety of colours and many different designs. Baandha craftsmen are also masters of the 'extra warp' and 'extra weft' style of designing which can be seen in almost all forms of Baandha textiles.

These meandering loops can be easily stretched in different directions giving knit fabrics much more elasticity than woven fabrics. Depending on the yarn and knitting pattern, knitted garments can stretch as much as 500%. For this reason, knitting is believed to have been developed for garments that must be elastic or stretch in response to the wearer's motions, such as socks and hosiery. For comparison, woven garments stretch mainly along one or other of a related pair of directions that lie roughly diagonally between the warp and the weft, while contracting in the other direction of the pair (stretching and contracting with the bias), and are not very elastic, unless they are woven from stretchable material such as spandex.

One end of the warp threads are fastened to a wooden rod and the other end is held by a wood stick or rod which is then fastened to the weaver by a belt that goes around her back. The weaving is done by raising half the warp threads to create a space or shed through which the shuttle passes. To create two different sheds, the weaver uses a wood pole called a shed rod that half the warp passes over and string heddles tied to another wooden rod, that the other half of the warp passes through. Some designs are woven into the fabric by introducing an extra weft thread that may be brightly colored.

The Inspector has been tasked by the Commissioner to guard the De Gaulle Stone, an enormous diamond worth 10 billion francs. The Commissioner warns the Inspector of the dire consequences should he lose the diamond, but the Inspector manages to lose it in seconds, handing it to what he thinks is his assistant, Sgt. Deux Deux, but is in fact a three-headed thief, collectively referred to as the Brothers Matzoriley. The left (the Soviet Russian-accented "Weft") and right (the American-accented "Wight") heads argue about what to do next, and the apparently dim third head (the Chinese "Wong") tries to break up the fight, only to be clobbered by his brothers.

This mission failed to generate any commissions from the sultan. Coecke made many drawings during his stay in Turkey including of the buildings, people and the indigenous flora. He seems to have retained from this trip an abiding interest in the accurate rendering of nature that gave his tapestries an added dimension.Roberta Smith, In Weft and Warp, Earth, Heaven and Hell ‘Grand Design’ Showcases Pieter Coecke Tapestries at the Met, 23 October 2014 The drawings which Coecke van Aelst made during his stay in Turkey were posthumously published by his widow under the title Ces moeurs et fachons de faire de Turcz avecq les regions y appertenantes ont este au vif contrefaictez (Antwerp,1553).

Cretonne was originally a strong, white fabric with a hempen warp and linen weft. The word is sometimes said to be derived from Creton, a village in Normandy where the manufacture of linen was carried on;some other serious sources mention that the cretonne was invented by Paul Creton, an inhabitant of Vimoutiers in the Pays d'Auge, Lower Normandy, France, a village very active in the textile industry in the past centuries. The word is now applied to a strong, printed cotton cloth, which is stouter than chintz but used for very much the same purposes. It is usually unglazed and may be printed on both sides and even with different patterns.

Donegal Tweed fabric – with the characteristic small pieces of yarn in different colours While the weavers in County Donegal produce a number of different tweed fabrics, including herringbone and check patterns, the area is best known for a plain-weave cloth of differently-coloured warp and weft, with small pieces of yarn in various colours woven in at irregular intervals to produce a heathered effect. Such fabric is often labelled as "donegal" (with a lowercase "d") regardless of its provenance. Along with Harris Tweed manufactured in the Scottish Highlands, Donegal is the most famous tweed in the world. While tweed in Ireland is by no means exclusive to Donegal, Vawn Corrigan confirms Donegal as the heartland of Irish Tweed .

A garment made of woven fabric is said to be "cut on the bias" when the fabric's warp and weft threads are on one of the bias grains. Woven fabric is more elastic as well as more fluid in the bias direction, compared to the straight and cross grains. This property facilitates garments and garment details that require extra elasticity, drapability or flexibility, such as bias-cut skirts and dresses, neckties, piping trims and decorations, bound seams, etc. The "bias-cut" is a technique used by designers for cutting clothing to utilize the greater stretch in the bias or diagonal direction of the fabric, thereby causing it to accentuate body lines and curves and drape softly.

This was the importance of that exhibition - it addressed the transformations in the medium of fiber art, noted differences between the continents and anticipated the experimentation to come. In the late 60's, with the creation of the piece Entrelazado en naranja, gris, multicolor (1969), de Amaral eventually "exploded the picture plane from inside out". At the end of this period, the artist left the fundamental concept of fabric weaving (the opposition between warp and weft), by leaving only the warp (in the form of braiding) and letting it float freely. The full form or volume stressed in the composition of the pieces from this period, make them look almost like thread sculptures.

Scotland was considered the worst area for child cruelty and their tiredness often caused serious accidents with the machinery. A writer in the 1840s said that "the religious, moral and intellectual conditions of the weavers were long of a very high grade ... but as poverty prevents many of them from attending public worship, and still more from educating their children, there can be little doubt that their character is fast deteriorating, and that their children will be in a still more deplorable condition." A report on the state of the burgh of Calton presented by a magistrate to the British Association described high levels of pilfering, including the bowl weft system generally carried on by weavers and winders. These workers embezzled cotton yarns, silks, etc.

The type of Shahtoosh is determined by the quantum of Toosh or Tibetan Antelope down in the fabric. The measurement system used for determining it is called Dani in Kashmiri, with 1 Dani equal to 1/16 in terms of fibre composition. The typical types of Toosh are: # Shurah Dani or 16 Dani: a 100% Toosh Shawl, # Bah Dani or 12 Dani: a 75% Toosh and 25% Pashmina mixed # Aeth Dani or 8 Dani: a 50% Toosh and 50% Pashmina mixed wherein the warp is generally of Toosh and the weft is Pashmina. In kashmir (B) grade sahtoosh locally name as moisture shatosh (moisture toosh in kashmir language) fiber are naturally mixed some percentage of moisture and price is less then the Ist grade shahtoosh.

The former is the oldest silk-making company in Italy – the third oldest in Europe after the British Vanners and Stephen Walters & Sons. Seteria Bianchi produced the fabrics for the Brioni jackets worn by Daniel Craig in 007 Casino Royale. Ettore Bianchi, the former owner of Seteria Bianchi, wrote the International Dictionary of Textiles, published in Italian in 1997, in which he describes grenadine (“Garza a giro inglese”): “A fabric quite common in the past, now forgotten, which was employed to make shirts and colonial uniforms in Tropical areas due to its incredible breathability. The fabric employed is cotton, and the weave is an English gauze in which two warp yarns are twisted around the weave and around the weft.

The technique has its own descriptive name in the Ukrainian language, which might be translated into English as "layerings". The technique for doing Poltava-style "layerings"-merezhka basically involves withdrawing sets of parallel threads of weft while leaving others in place, then using the antique hem-stitch (called prutyk) and this special "layerings" technique to create both the openwork "net" and the design of embroidering threads upon the "withdrawn" part of cloth. The designs which can be created in this way can be simple and narrow, or as complex and wide (high) as any one-colored embroidery design. Prutyk (may also be spelled prutik) is the "bunch" (switch or stick) that is created when you pull together each bunch of three threads together using hem- stitch.

After critical remarks on the reliability of Wikipedia, she said: "It's the warp and weft of debate in the free press, whether digital or print, that gets to the heart of the truth, not the wacky wisdom of self-appointed crowds." Emily Bell, director of the Tow Center for Digital Journalism, reviewed coverage of the project four days after the initial announcement. She said that there was considerable scepticism which was apparent in an Ask Me Anything session held by Wales. She thought that WikiTribune would duplicate work which was already being done and gave examples such as David Fahrenthold's Pulitzer prize-winning coverage of the United States presidential election for the Washington Post, during which he used Twitter to engage with the public.

Weft structured wigs can have the wefts sewn to the foundation by hand, while it is on the block or, as is common with mass-produced wigs, sewn to a ready-made base by skilled sewing machine operators. Ventilated (hand knotted) wigs have the hair knotted directly to the foundation, a few strands at a time while the foundation is fastened to the block. With the hair folded over the finger, the wigmaker pulls a loop of hair under the mesh, and then moves the hook forward to catch both sides of the loop. The ends are pulled through the loop and the knot is tightened for a "single knot", or a second loop is pulled through the first before finishing for a "double knot".

Denoting a geographic origin from the city of Cambrai or its surroundings (Cambresis in French), cambric is an exact equivalent of the French cambrésine (), a very fine, almost sheer white linen plain-weave fabric, to be distinguished from cambrasine, a fabric comparable to the French lawn despite its foreign origin. Cambric is also close to chambray ( from a French regional variant of "Cambrai", a name which "also comes from Cambrai, the French city, where the material was originally made of linen yarn". Chambray (also spelled "chambrai") appears in North American English in the early 19th century. Though the term generally refers to a cotton plain weave with a colored warp and a white weft, close to gingham, "silk chambray" seems to have coexisted.

James Bullough improved his loom by inventing various components, including the "self-acting temple", which kept the woven cloth at its correct width, the weft fork (patented 1841 but disputed by Osbaldeston) and a loose reed that allowed the lathe to back away on encountering a shuttle trapped in the warp. Bullough also invented a simple but effective warning device which rang a bell every time the warp thread broke on his loom. He worked with William Kenworthy at Brookhouse Mills, with whom he applied his inventions to develop an improved power loom that became known as the Lancashire Loom. John Bullough, with James Whittaker and John Walmsley, developed a machine, patented in 1852, that sized two warps and wound them on two beams simultaneously.

Isparta carpets came in a standard quality, which enhanced their commercial value and demand. Their main feature was the cotton weft and the use of asymmetric knotsStone, P., Oriental Rugs: An Illustrated Lexicon of Motifs, Materials, and Origins Many of them belonged to the prayer-rug type, with triangular patterns which remind of a mihrab. The Isparta type rug, considered by Kahramanos, a standardized product of the 19th century, is woven with double- stranded yarns and in a smaller number of knots; their initial patterns were imitating popular Asia Minor styles, particularly those of Uşak, with a central medallion, decorated corners and lively colours. Soon, they turned to imitating Persian style, which proved much more popular in the western markets, particularly that of the United States.

The discography of Laura Veirs, an American rock/folk music singer, consists of eleven studio albums (including one album as part of case/lang/veirs), four singles, an extended plays, a live album and four music videos on Raven Marching Band (United States) and Bella Records (Europe). Laura Veirs's debut album Laura Veirs, was released in 1999 as an independent album. Following the first album, Laura Veirs had a successful career during the 2000s with the albums The Triumphs and Travails of Orphan Mae in 2001, Troubled by the Fire in 2003, Carbon Glacier in 2004, Year of Meteors in 2005, and Saltbreakers in 2007. With July Flame (2011) and Warp & Weft (2013), Veirs gained her first international success and chart positions.

In the late 19th century Lewis Haslam, a Lancashire mill owner and politician, began to link the partnering of holes and warmth and with two medical colleagues, began experimenting with aeration; trapping air within the warp and weft of fabric. The result was a fabric that provided a barrier between the warmth of the skin and the chill of the atmosphere and in 1888 they formed the Aertex Company. During World War II the British Women's Land Army wore Aertex as part of their uniform and all the British and Commonwealth land forces in the Far East and Middle East wore Aertex bush shirts and jackets. These uniforms were designated as Jungle Green for the Far East and Khaki Drill for the Middle East.

The first Egyptian cotton products with linseed oil applied started to appear from the mid-1850s. Tea clipper sails were made from strong two-ply yarns in both warp and weft, which provided lighter cloth with extra strength for the larger sails. The recipe for coating each cloth remained unique to that cloth, but all cloths suffered the same problems: stiffness in the cold; and a tendency to turn a shade of yellow towards that of pure linseed oil (this contributed to the yellow colour of early fisherman's clothing). In the mid-1920s, three companies co-operated to create paraffin- impregnated cotton, which produced a highly water resistant cloth, breathable, but without the stiffness in the cold or yellowing with age.

In a recent artist statement Lander said: > I was seduced by the beauty and magic of muka. My first public installation > in 1986 – E kore koe e ngaro he kakano i ruia mai i Rangiatea in the > Karanga, Karanga exhibition – featured whenu (warp threads) and aho (weft > threads) that I had carefully prepared to make my first korowai. Instead, I > suspended them in an ethereal cloud-like formation over a swirl of flax > seed. In 1998 art historian Priscilla Pitts wrote that Lander's combination of 'conventional university art school' study and training with traditional Māori weavers was reflected in her work: > Though much of her work is a response to weaving arts, Lander seldom > actually weaves - at least, in the works she exhibits in gallery spaces.

Triangular cross-cut sail panels are designed to meet the mast and stay at an angle from either the warp or the weft (on the bias) to allow stretching along the luff, but minimize strutting on the luff and foot, where the fibers are aligned with the edges of the sail. Radial sails have panels that "radiate" from corners in order to efficiently transmit stress and are typically higher-performance than cross- cut sails. A bi-radial sail has panels radiating from two of three corners; a tri-radial sail has panels radiating from all three corners. Mainsails are more likely to be bi-radial, since there is very little stress at the tack, whereas head sails (spinnakers and jibs) are more likely to be tri-radial, because they are tensioned at their corners.

Irregularities -- considered part of the charm by many rug collectors -- were fairly common since natural materials varied from batch to batch and woolen warp or weft may stretch, especially on a loom that is regularly folded up for transport and set up anew at another camp. More recently, large rug workshops in the cities have appeared, there are fewer irregularities, and the technology has changed some. Since about 1910, synthetic dyes have been used along with natural ones.Between the Black Desert and the Red: Turkmen Carpets from the Wiedersperg Collection, San Francisco, Fine Arts Museum, 1999 The size of nomadic rugs is limited to what can be done on a nomad's portable loom; larger rugs have always been produced in the villages, but they are now more common.

Valve chest, arc valve and tappet of a pneumatic rock drill The term 'tappet' is also used, obscurely, as a component of valve systems for other machinery, particularly as part of a bash valve in pneumatic cylinders. Where a reciprocating action is produced, such as for a pneumatic drill or jackhammer, the valve may be actuated by inertia or by the movement of the working piston. As the piston hammers back and forth, it impacts a small tappet, which in turn moves the air valve and so reverses the flow of air to the piston. In weaving looms, a tappet is a mechanism which helps form the shed or opening in the warp threads (long direction) of the material through which the weft threads (side to side or short direction) are passed.

Shaphee Lamphee embroidery is done over a black coloured cloth with red border. The motifs embroidered on the fabric consists of several designs, and some of the common designs adopted are: of animals such as "shamu" (elephant), "shagol" (horse), "iroichi" (buffalo horn), "wahong" (peacock), and "Nga" (fish); planets such as "numit" (sun), tha (moon); Thawanmichak (star) ; and also phantup (magical seat, ta (spear) - these designs are done in a set pattern and sequence of operation. The embroidery is done by hand using needle and yarns of cotton. It has a width of 110–132 cm and length of 225–230 cm and generally weighs 1854 grams. The yarn used are 2/20S cotton and 2/34S acrylic with wrap made with 2/20S cotton and weft woven from 2/20S cotton.

Kulenović's life story is in many ways typical of a Bosnian-born intellectual of the Yugoslav age: born into a Bosnian Muslim family, educated in the Catholic tradition and living in the Serbian capital. Just as his political ethos was one of pan-Yugoslav unity in Tito's communism, so his cultural roots were embedded in the Ottoman, Croatian and Serbian traditions equally. Some Bosniaks and Serbs categorise him as a Bosniak poet and a Serbian poet respectively – a tendency which, the Sarajevo critic Ivan Lovrenović claims, "diminishes and degrades" the status of Kulenović and writers like him. One might also say, however, that his roots in all three traditions makes him a Bosnian (rather than a Bosniak) poet par excellence, for these were the three traditions that form the weft of culture in Bosnia.

The development of the rapier loom began in 1844, when John Smith of Salford was granted a patent on a loom design that eliminated the shuttle typical of earlier models of looms. Subsequent patents were taken out by Phillippe and Maurice in 1855, W.S. Laycock in 1869, and W. Glover in 1874, with rigid rapiers being perfected by O. Hallensleben in 1899. The main breakthrough came in 1922 when John Gabler invented the principle of loop transfer in the middle of the shed. Flexible rapiers of the type used today were proposed in 1925 by the Spanish inventor R.G. Moya, while R. Dewas introduced the idea of grasping the weft at its tip by the giver or a carrier rapier and transferring it to the taker or a receiver in the middle of the shed.

This factory burnt down in 1865 and was never restored. Besides the Fink Brothers’ factory, two other great textile mills set up shop in Kusel, the Zöllner plant and the Ehrenspeck plant. At the former, it was mostly durable material that was made, for work clothes, such as tirtey (“midweight woollen fabric in twill weave, with a combination of carded woollen yarns in the weft and cotton yarns in the warp. Mostly used for work trousers.”Definition of “tirtey” in the “Online Textile Dictionary”) and buckskin cloth (not leather, but rather a “thick, smooth cotton or woollen fabric”Definition of “buckskin” in the “Compact Oxford English Dictionary”). In 1885 the Zöllner plant, too, burnt down, but unlike the Fink Brothers’ factory, it rose from the ashes and in the years before the First World War, it even underwent an important expansion.

William Horrocks secured several patents to improve the loom. The Horrocks loom, introduced in 1803, featured an improved method of taking up the cloth onto the beam once it was woven. It had a metal frame, and was described as neat and compact so hundreds could be at work in a single room. As the warp was now dressed away from the loom, the Horrocks loom could be run continuously, being stopped only to piece broken threads and to replenish the weft in the shuttle. In the vicinity of Stockport, approximately two thousand looms were in use by 1818, and by 1821 there were 32 factories containing 5732 looms. According to a 1830 report to the British House of Commons, by 1820 there were an estimated 14,150 power looms in both England and Scotland; that number increased to 55,500 by 1829.

The company began manufacturing lace, weft-knit fabrics, bra accessories and fabric printing in Sri Lanka. MAS expanded to Mexico while the company opened its first specialized swimwear plant during the same year. By 2003, MAS Holdings began to provide value additions such as product development, design and sourcing facilities. In the early 2000s, the company began absorbing Lean manufacturing principles into its production facilities, and also launched its first in-house intimate apparel brand, amantè, in India. An early adoption of Lean Enterprise helped MAS Holdings better withstand the brunt of the world economic downturn and its effects on Sri Lanka’s apparel industry. In 2004 when Nike sought out socially and environmentally conscious strategic partners to link with, MAS Holdings was the only South Asian supplier selected and was also the first in a number of Nike’s strategic initiatives.

Hemmings is currently Professor of Craft & Vice-Prefekt of Research at HDK-Valand, University of Gothenburg, Sweden. Previous academic appointments include Professor of Visual Culture and Head of the School of Visual Culture at the National College of Art & Design, Dublin (2012-2016); Deputy Director of Research and Head of Context, Edinburgh College of Art, University of Edinburgh (2010-2012); Associate Director of the Centre for Visual & Cultural Studies, Edinburgh College of Art (2008-2010); Reader in Textile Culture, Winchester School of Art, University of Southampton, England (2008). She is a member of the editorial board of TEXTILE: the journal of cloth & culture (Taylor & Francis) and Craft Research (Intellect). As a writer she has published Warp and Weft: Woven Textiles in Fashion, Art and Interiors (2012) and Yvonne Vera: The Voice of Cloth (2008), and edited three books.

The "MoirangPheejin" design, known in local language as Yarongphi ('ya' means "tooth", 'rong' means "long" and 'longba' means "pronged"), which is weaved over the Moirang Phee fabric is stated to represent the thin and pointed teeth of the "Pakhangba", the Pythonic god in Manipur mythology. This motif, arranged in varying steps, on the longitudinal border of the main fabric woven during the first stage, has a sharp edge at the top and is woven sequentially to give an aesthetic appearance to the fabric. The triangular shaped design elongates on odd numbers of steps (such as 3, 5, 9, 11 and so forth) towards the center of the cloth on which it is woven, and is parallel to weft threads. This design is made to suit the fabric such as a sari, stole, sarong, school uniforms, lungi, skirts and half sari.

""Literary : The Hidden Tide", The Queenslander, 8 April 1899, p634 In The W.A. Record the reviewer was rather more enthusiastic: "Small in size is Mr. Roderic Quinn's "Hidden Tide" but the book contains an abundance of poetry of a very high order and poetry of an artistic class seldom produced in Australia. Amongst Australian poets Mr. Quinn holds a place of his own 'distinct and apart, for although he has strong points of resemblance to Henry Kendall and Mr. Daley, he has still stronger points of contrast. The poems in this booklet are preeminently the work of an artist soul; but the artist never loses the singer and the seer. Picturesque they are, but into the woof of his vivid art, Mr. Quinn has woven the weft of high emotion, an emotion that has been touched into life by the vivifying love of Nature, animate and inanimate.

For comparison, woven garments stretch mainly along one or other of a related pair of directions that lie roughly diagonally between the warp and the weft, while contracting in the other direction of the pair (stretching and contracting with the bias), and are not very elastic, unless they are woven from stretchable material such as spandex. Knitted garments are often more form-fitting than woven garments, since their elasticity allows them to contour to the body's outline more closely; by contrast, curvature is introduced into most woven garments only with sewn darts, flares, gussets and gores, the seams of which lower the elasticity of the woven fabric still further. Extra curvature can be introduced into knitted garments without seams, as in the heel of a sock; the effect of darts, flares, etc. can be obtained with short rows or by increasing or decreasing the number of stitches.

Though he commented it "took a while to get going", once it did he thought it had turned into the "first genuine chiller" of the series. He wrote that the "only real disappointment" was the "inference that the TARDIS doesn't really have to make its celebrated 'vworp, vworp' noise on landing", asking "How can you do that to us long-time fans, Steven Moffat – that sound is part of the warp and weft of the programme!". Patrick Mulkern, writing for the Radio Times, described the episode as "simply superb television" and claimed that "Matt Smith really is shaping up to be the best Doctor since Tom Baker", praising him for being "simultaneously intense and subtle". He thought it started out with "arguably the most impressive opener to any Doctor Who yet" and also praised Amy for being "cheerfully free of the emotional baggage that mired her predecessors" so far.

The high artistic level reached by Persian weavers is further exemplified by the report of the historian Al- Tabari about the Spring of Khosrow carpet, taken as booty by the Arabian conquerors of Ctesiphon in 637 AD. The description of the rug's design by al- Tabari makes it seem unlikely that the carpet was pile woven. Fragments of pile rugs from findspots in north-eastern Afghanistan, reportedly originating from the province of Samangan, have been carbon-14 dated to a time span from the turn of the second century to the early Sasanian period. Among these fragments, some show depictions of animals, like various stags (sometimes arranged in a procession, recalling the design of the Pazyryk carpet) or a winged mythical creature. Wool is used for warp, weft, and pile, the yarn is crudely spun, and the fragments are woven with the asymmetric knot associated with Persian and far-eastern carpets.

English, The Textile Industry (1969), 89-97; W. H. Chaloner, People and Industries (1993), 45-54 The equal warp and weft mean that the tensile strength and shrinkage is the same in any two directions at right angles and that the fabric absorbs liquids such as ink, paint and aircraft dope equally along its X and Y axes. It was used as the covering for the de Havilland MosquitoKennedy Hickman, World War II: De Havilland Mosquito, About.com a pioneer of wooden monocoque airframe construction in military aircraft, as well as in other aircraft, where it was tautened and stiffened with aircraft dope.John Brandon, "Aircraft fabric covering systems", Builders guide to aircraft materials, 25 June 2006, archived at the Wayback Machine, 16 September 2008 The cloth takes its name from the eponymous village near Narsapur, West Godavari, Andhra Pradesh, India, where the East India Company had a cloth factory.

Scots Language CentreJute Mill Song (Mary Brooksbank) Oh dear me, the mill's gannin' fast The puir wee shifters canna get a rest Shiftin' bobbins coorse and fine They fairly mak' ye work for your ten and nine Oh dear me, I wish the day was done Rinnin' up and doon the Pass it is nae fun Shiftin', piecin', spinnin' warp weft and twine Tae feed and clad my bairnie affen ten and nine Oh dear me, the warld is ill divided Them that works the hardest are the least provided I maun bide contented, dark days or fine For there's nae much pleasure livin' affen ten and nine Repeat 1 You can hear it sung by Mary Brookshanks and then by later folksingers at the Scots Language Centre: Scotslanguage.com - Work Songs. Her original notebook of songs and poems is held by the archives at the University of Dundee.

The museum is divided into six areas of special focus, including Achievements in textile arts, the role of textiles in religion, textiles from indigenous fibres, The Royal Collection, warp pattern weaves, and weft pattern weaves. The Royal Collection of the museum has an invaluable collection of Bhutanese antique textile artefacts of Bhutan, including crowns of Bhutan's kings, Namzas (dresses) and other accessories worn by the Royal Family, a pearl robe from Tsamdrak Goenpa and the bedding of Shabdrung Jigme Dorji. Some of the unique collections donated by the Queen Mother, Ashi Sangay Choden Wangchuck, and some private individuals on display in the museum are: the first version of the Raven crown, brocade uzhams(crowns) worn by the first king, and the second king, and a princess crown worn by the sister of the first king, Ashi Wangmo. The ground floor of the Textile Museum has displays demonstrating the skills of spinning, colouring fibres, preparing a loom, and manipulating two sets of yarns.

Exhibitions in 2013 have included: It's the Political Economy, Stupid, The Program, Whisper Down the Lane, and I THINK WE'RE READY TO GO TO THE NEXT SEQUENCE: THE LEGACY OF HALFLIFERS. Exhibitions from years past have included: Focus Pull: Onion City Off Screen, Frau Fiber: Knock Off Enterprises - the labor behind the label, Justin Cooper: Thread, Asma Kazmi: Relation-Chute, Carla Arocha: Orchid, Andy Roche: Black Iron Vatican, Leif Elggren and Carl Michael von Hausswolff: Inauguration of the Consulate General of the Kingdoms of Elgaland-Vargaland, An Atlas, I Am Eyebeam, Carol Jackson, Feel Tank Chicago: Pathogeographies (Or, Other People's Baggage), Amanda Browder and Stuart Keeler: Urban Warp / Weft sculptural research project, Captive Audience, John Arndt : Empire, Jeanne Dunning: Tomato Fight, Carter: Drawings and Polaroids. In 2018 Gallery 400 in partnership with VGA gallery exhibited the Chicago New Media 1973-1992. The exhibition focused on Chicago’s important relationship with New Media looking at the history through time.

The critical specification attached to the patent dated 26 May 1733 (No. 542) describes "A new invented shuttle, for the better and more exact weaving of broad cloths, broad bays, sail cloths or any other broad goods...by running on four wheels moves over the lower side of the web and spring, on a board about nine feet long... a small cord commanded by the hand of the weaver, the weaver, sitting in the middle of the loom, with great ease and expedition by a small pull at the cord casts or moves the said new invented shuttle from side to side", quoted in Mantoux (1928). It greatly accelerated weaving, by allowing the shuttle carrying the weft to be passed through the warp threads faster and over a greater width of cloth. It was designed for the broad loom, for which it saved labour over the traditional process, needing only one operator per loom (before Kay's improvements a second worker was needed to catch the shuttle).

The four-step and two-step processes produce a greater degree of interlinking as the braiding yarns travel through the thickness of the preform, but therefore contribute less to the in-plane performance of the preform. A disadvantage of the multilayer interlock equipment is that due to the conventional sinusoidal movement of the yarn carriers to form the preform, the equipment is not able to have the density of yarn carriers that is possible with the two-step and four-step machines. #Knitting fibre preforms can be done with the traditional methods of Warp and [Weft] Knitting, and the fabric produced is often regarded by many as two-dimensional fabric, but machines with two or more needle beds are capable of producing multilayer fabrics with yarns that traverse between the layers. Developments in electronic controls for needle selection and knit loop transfer, and in the sophisticated mechanisms that allow specific areas of the fabric to be held and their movement controlled, have allowed the fabric to be formed into the required three-dimensional preform shape with a minimum of material wastage.

Pazyryk Carpet, the oldest surviving carpet in the world (Armenia or Persia, 5th century BC) The Czartoryski carpet with coat of arms of the Polish Myszkowski family, made with a cotton warp, a silk weft and pile, and metal wrapped thread (Iran, 17th century) The knotted pile carpet probably originated in the Caspian Sea area (Northern Iran) E.J.W. Barber, Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean, 1992, , p. 171 or the Armenian Highland.Volkmar Gantzhorn, "Oriental Carpets", 1998. Although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium, the earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins.

Sari draping style of Sambalpur region An intricate Ikkat weave of Sambalpuri sari Another intricate weave of Sambalpuri sari A Sambalpuri sari is a traditional handwoven ikat or sari (locally called sadhi) wherein the warp and the weft are tie-dyed before weaving. It is produced in the Bargarh, Sonepur, Sambalpur, Balangir district, Boudh District of Odisha. The sari is a traditional female garment in the Indian SubcontinentAlkazi, Roshan (1983) "Ancient Indian costume", Art Heritage; Ghurye (1951) "Indian costume", Popular book depot (Bombay); Boulanger, Chantal; (1997) consisting of a strip of unstitched cloth ranging from four to nine metres in length that is draped over the body in various styles. Sambalpuri saris are known for their incorporation of traditional motifs like shankha (shell), chakra (wheel), phula (flower), all of which have deep symbolism with the native Odia colour red black and white represent true Odia Culture along with Lord Kaalia(Jagannatha)'s face colour, but the highpoint of these saris is the traditional craftsmanship of the 'Bandhakala', the Tie-dye art reflected in their intricate weaves, also known as Sambalpuri "Ikkat".

They show a fine weave of about 4650 asymmetrical knots per square decimeter Other fragments woven in symmetrical as well as asymmetrical knots have been found in Dura-Europos in Syria, and from the At-Tar caves in Iraq, dated to the first centuries AD. These rare findings demonstrate that all the skills and techniques of dyeing and carpet weaving were already known in western Asia before the first century AD. Fragments of pile rugs from findspots in north-eastern Afghanistan, reportedly originating from the province of Samangan, have been carbon-14 dated to a time span from the turn of the second century to the early Sasanian period. Among these fragments, some show depictings of animals, like various stags (sometimes arranged in a procession, recalling the design of the Pazyryk carpet) or a winged mythical creature. Wool is used for warp, weft, and pile, the yarn is crudely spun, and the fragments are woven with the asymmetric knot associated with Persian and far-eastern carpets. Every three to five rows, pieces of unspun wool, strips of cloth and leather are woven in.

The first Boulton and Watt engine in Manchester was bought by Drinkwater's Mill in Piccadilly in 1789, and installed by the Birmingham company's prizefighting engineer, Isaac Perrins. James McConnel, served an apprenticeship with William Cannan in Chowbent, and moved to Manchester in 1788 to work for Alexander Egelsom a weft and twist dealer with a cotton spinning establishment on Newton Street, Ancoats. The Murrays probably used the same building. In 1791 McConnel joined the partnership with Sandford and Kennedy. By 1797 McConnel and Kennedy had built a mill with steam powered spinning mules. This was Old Mill, powered by a 16 hp Boulton and Watt engine in an external engine and boiler house. The seven-storey mill was 16 bays long and 4 bays deep and had a cupola on the roof. upright Between 1801 and 1803, Long Mill was built, it was eight storeys high, 30 bays long by 4 bays deep, its 45 hp Boulton and Watt engine was placed in an internal engine house on the south side of the mill but the boilers were external.

Sahba Aminkia’s compositions have been widely performed in United States, Canada, Iran, United Arab Emirates, Brazil, Ecuador, France, Italy, Poland, China, Greece, Turkey and Israel and at venues such as Kennedy Center for the Performing Arts, Le Poisson Rouge, Yerba Buena Center for the Arts, San Francisco Exploratorium, SFJAZZ Center and St. Ann's Warehouse. Aminikia’s compositions have been commissioned by theatre troops, contemporary classical ensembles, film scores, Persian traditional music groups as well as jazz bands including Kronos Quartet, Brooklyn Youth Chorus, Symphony Parnassus, San Francisco Conservatory of Music, New Music Ensemble, Mobius Trio, Delphi Trio, and Living Earth Show.Iranian-Born Composer Sahba Aminikia Bridges Worlds in Extreme Times, March 7, 2017 His third string quartet, "A Threnody for Those Who Remain", commissioned by Yerba Buena Center for the Arts and Kronos Performing Arts Association, was described by Financial Times as “An experience not to be easily forgotten”. And similarly, his widely known “Tar o Pood” (Warp and Weft)—commissioned by Nasrin Marzban for Kronos Quartet—was the second-place recipient of the 2015 American Prize in composition in the Professional Chamber Music category.