133 Sentences With "warp and weft" | Random Sentence Generator

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

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.

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

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.

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.

" 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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).

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.

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.

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.

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.

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.

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.

" 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

"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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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".

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".

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.

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.

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.

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.

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 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).

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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".

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.