82 Sentences With "wefts" | Random Sentence Generator

It was woven with cotton warps and wool, cotton, and silk wefts.

Most wefts will cost you upwards $150 depending on length, color, and quality.

It takes me about 2.5 hours to complete the construction of a wig from wefts and a closure.

There are endless detachable wefts on the market that add length, enhance volume, or add color to your hair.

Instead of sewing in wefts of fake hair to beef up Hough's pony, Capri used the star's own strands for maximum impact.

The key is to put them in with confidence and once they're all in use, use another mirror to look at the back to troubleshoot exposed wefts.

I bought another costume new because I wanted to own the officially-licensed costume: $130 for the costume and a prop, plus $55 for a new wig and wefts to add volume.

An obsessive search through the warps and wefts of the internet yielded an email response within 48 hours: Dear Ms. Lichterman, I am deeply touched and appreciative of your kind words about 'Jeunes voix' and would be happy to meet you.

Klee's famous lesson to his students to "take a line for a walk" found its shrewdest interpreter in Albers, who let her thread slide and skitter across the grid of the loom, and then went in by hand to add supplementary wefts that dance over the warp.

You have a few options: The sew-in method, which actually sews wefts of hair to your natural hair; clip-ins that are fastened with barrette-like attachments; micro links, which are individual extensions that are applied strand-by-strand with bead-like rings; and then there are tape-in extensions.

It was just the start of an eye-popping visual discourse on the art of the possible, which ranged from gossamer-thin crocheted mohair gowns inset with fur roses or traced with leather castles and creatures inspired by the early 20th-century Danish illustrator Kay Nielsen, to evening capes and coats with whole narratives in their wefts.

" And to take Hudson from her textured bob to her current tousled tresses style, the hair pro selected three rows of hand-sewn, 16-inch wefts (tracks of hair), which sounds like a lot, but as Welch explains, because the actress was going from a bob to bouncy blowout, the added thickness was necessary since it is "very difficult to break up a bob.

In samite, the main warp threads are hidden on both sides of the fabric by the ground and patterning wefts, with only the binding warps that hold the wefts in place visible.Muthesius, "Silk in the Medieval World", p. 343.Burnham (1980), p. 180.

Hetherington, spinning mule wefts (76,860 spindles) and ring twists (2976 spindles) coarse cotton counts, 8s to 24s.

Since the mid- twentieth century, commercial production started in the villages of Abadeh and Yalameh. Abadeh rugs adopted traditional Qashqai designs, but used cotton for warps and wefts, the latter often dyed in blue. Yalameh carpets more resemble Khamseh designs with hooked medaillons arranged in the field. Warps and wefts were often in white.

The wefts are fixed and spanned on the beams, or, in more advanced types of looms, the wefts are spanned on a roller beam, which allows for any length of carpet to be woven, as the finished part of the carpet is rolled up on the roller beam. Thus, the weavers' benches always remain at the same height.

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".

Masse uses hatching, wefts, satin coated. The drawing is dark, the detailed wefts close to engraving. Masse presents a graphic universe that embodies the post-1968 trend in the avant-garde press of the early 1970s. According to Romain Brethes, Masse is part of the history of comics for having embraced its most radical revolutions and having participated in his most fruitful experiments.

"Damas" etymology (in French). By the 14th century, damasks were being woven on draw looms in Italy. From the 14th to 16th century, most damasks were woven in one colour with a glossy warp-faced satin pattern against a duller ground. Two-colour damasks had contrasting colour warps and wefts, and polychrome damasks added gold and other metallic threads or additional colours as supplemental brocading wefts.

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.

The fabric is further compacted by using wefts of different thickness. Usually one of three wefts is consideravly thicker than the others. The knots are symmetrical, at a density of 60 to over 200 per square inch (930–2100/ dm2), rarely even over 400 (6200/ dm2). The colours of Bijar rugs are exquisite, with light and dark blues, and saturated to light, pale madder red.

The Hindu residents of Ghodi Bachheda treats the Muslim residents of Til Beghampur as elder brothers. Ghodi Bacchheda and Til Begumpur, the warps and wefts of Bhagwa vastra and Taqiyya weave a beautiful symphony.

Turkish (roller beam) loom and weavers (1908). Turkish (symmetric) knot Persian (asymmetric) knot, open to the right Kilim end and fringes A variety of tools are needed in the construction of a handmade rug. A loom, a horizontal or upright framework, is needed to mount the vertical warps into which the pile nodes are knotted, and one or more shoots of horizontal wefts are woven ("shot") in after each row of knots in order to further stabilize the fabric. Wefts can be either undyed or dyed, mostly in red and blue.

Bergama carpets are woven with symmetric knots. Warps, wefts and pile are made of sheep wool. The knotting density of around 12 knots per cm² is rather coarse. They are typically three to four meters square in size.

The rugs have a dark wool foundation, with two wefts after each row of knots. Knots are symmetrical or asymmetrical. Small compartment designs of repeating stars are often seen, or lozenge-shaped medallions with anchor-like hooks on both ends.

Cotton forms the foundation of warps and wefts of the majority of modern rugs. Nomads who cannot afford to buy cotton on the market use wool for warps and wefts, which are also traditionally made of wool in areas where cotton was not a local product. Cotton can be spun more tightly than wool, and tolerates more tension, which makes cotton a superior material for the foundation of a rug. Especially larger carpets are more likely to lie flat on the floor, whereas wool tends to shrink unevenly, and carpets with a woolen foundation may buckle when wet.

Men shear sheep in spring and autumn, while women collect dyestuffs and spin and dye yarn in the spring, summer and autumn. The weaving is undertaken during winter by the female members of the extended family, girls learning from their mothers and grandmothers and wives assisting their mothers-in-law. The carpet is made on horizontal or vertical looms using multi-coloured wool, cotton or silk yarn coloured with natural dyes. Applying special techniques to create pile carpets, weavers knot the pile yarn around threads of the warp; pile-less carpets are variously made with interlacing structural warps, wefts, and patterning wefts.

Edwards opted for a woven foundation with double wefts, similar in structure to the rugs woven in the Kurdish town of Bijar, but with cotton warps and wefts instead of the woolen yarn used in Bijar rugs. The pile was to be knotted with the symmetrical knot, which was traditionally used in the region, and would provide a thicker and heavier pile as compared to asymmetrical knots. A series of prototypes were woven which. as a result, showed that a knot density of 10 x 11 knots per square inch was optimal for weaving a sufficiently dense pattern.

Eighty-seven pieces of fabric were found associated with 37 burials. Researchers have identified seven different weaves in the fabric. One kind of fabric had 26 strands per inch (10 strands per centimeter). There were also weaves using two-strand and three-strand wefts.

Alternate warps are deeply depressed. Wefts are in natural colours or dyed red. The selvedges are overcast in wool of different colours, creating a "barber pole" pattern, and are sometimes adorned with woolen tassels. Both ends of the rug have narrow, striped flat-woven kilims.

The weaving of pile rugs is a time-consuming process which, depending on the quality and size of the rug, may take anywhere from a few months to several years to complete. To begin making a rug, one needs a foundation consisting of warps and wefts: Warps are strong, thick threads of cotton, wool or silk which run through the length of the rug. Similar threads which pass under and over the warps from one side to the other are called wefts. The warps on either side of the rug are normally plied into one or more strings of varying thickness that are overcast to form the selvedge.

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.

They generally have two wefts, and are very colorful in design.J. D. Winitz 'Kurdish Rugs'. Retrieved 7 July 2013. With an increased interest in these rugs in the last century, and a lesser need for them to be as sturdy as they were, new Bijar rugs are more refined and delicate in design.

Older pieces are characterized by the restraint towards color combinations and their use of earth tones (most notably: soft yellow, terracotta and browns). The wefts of the Konya rugs are always red, distinguishing them from other Persian carpets. The Nomadic pieces within this genre usually have a foundation of dark wool or goat hair.

A variety of tools are needed for the construction of a handmade rug. A loom, a horizontal or upright framework, is needed to mount the vertical warps into which the pile nodes are knotted. One or more shoots of horizontal wefts are woven (“shot”) in after each row of knots in order to further stabilize the fabric.

Some of these rugs were labeled, indicating the date of purchase, size, and cost. Most carpets in Jaipur had a cotton foundation, silk was sometimes used for the wefts. White cotton was used for accents in the pile. The finest carpets are often labelled as Persian, but there are carpets with an animal design which are labelled as Indian.

Tai textiles - Continuous Supplementary Wefts : Khit It was an ancestral custom for Isan girls to learn to weave khit cloth before getting married and produce some fine items for their future household. Nowadays local-style dress has fallen into disuse and it is confined mostly to folkloric performances or ceremonial or formal wear for men and women.

The thread is then pulled downwards and cut with a knife. After a row of knots has been inserted, one or two, sometimes more, rows of wefts are woven in, and the fabric is compacted by beating with a heavy comb. Once the carpet is finished, it is cut from the loom. The sides or selvages are usually overcast in wool.

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.

Crowfoot, Elizabeth, Frances Prichard and Kay Staniland, Textiles and Clothing c. 1150 -c. 1450, Museum of London, 1992, Wool fabrics were dyed in rich colours, notably reds, greens, golds, and blues. Silk-weaving was well established around the Mediterranean by the beginning of the 15th century, and figured silks, often silk velvets with silver-gilt wefts, are increasingly seen in Italian dress and in the dress of the wealthy throughout Europe.

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".

It was made using undyed cotton warps and dyed wefts of wool from Australia. The pattern was built up using Aubusson tapestry techniques, using blocks of 900 different colours to create the different shades. A team of 12 worked on the tapestry for 2 years, under the supervision of Marie Cuttoli, and Sutherland visited 9 times to check and correct the work. The tapestry weighs over one tonne.

In the cut-pile embroidery technique, short raffia strands are individually inserted with a needle under one or more warps or wefts of a plain-woven raffia panel, then cut close to the surface at each end to produce the raised "pile." Textile weaving boasts a variety of motifs, such as guilloche interlace, which embroidery artists employed along with color, line and texture to yield varied compositions and visual effects.

These colours mixed with the natural unbleached off-white color of the cotton yarn produce dramatic results. The motifs used on the fabric are conch, boat, axes, crab, bow, temple, fish, and fan, which reflect the culture of the area. These motifs are developed by the extra wefts. By use of multi-shuttle by interlocking method, a solid border effect of the fabric is brought up by the pig by pig insertion of thread.

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.

He describes in detail the technical and quality criteria which OCM had defined for their production. Several factors were taken into account: The type of knot which was to be used (i.e., symmetrical or "turkish" vs. asymmetrical or "persian"), the knot density, twisting and thickness of the yarns used for warps, wefts, and pile, the section of appropriate colours, the patterns and motifs of the rug design, always considering the costs of goods and labour.

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.

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 type species of the genus consists of flattened filaments – perhaps an artefact resulting from post-burial pressure. Their branching is typically at obtuse angles; the irregularly sized grana, which ornament their surfaces, are concentrated at branching points. They are often found as individuals, but sometimes group together into "wefts", as Wellman has termed them. The filaments are septate, with the septa looking like "pinch points" where the tube is slightly constricted – like a twisted balloon.

Before the yarn can be used for weaving, several strands have to be twisted together for additional strength. Cotton is used primarily in the foundation, the warps and wefts of rugs. Cotton is stronger than wool, and, when used for the foundation, makes a carpet lie flat on the ground, as it is not as easily distorted as woolen strings. Some weavers, such as Turkomans, also use cotton for weaving small white details into the rug in order to create contrast.

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.

Bizarre silks were woven on the drawloom, and the colorful patterns were brocaded or created with floating pattern wefts (lampas). At the height of the fashion, the average repeat of a bizarre silk pattern was 27 inches (69 cm) high and ten inches (26 cm) wide, repeating twice across the width of the fabric. These large-scale designs were perfectly suited to the popular mantua, a woman's gown with long, flowing lines and few seams, and were also popular for men's waistcoats and furnishings.

The ua (upper border) is plain and undecorated, and the kaupapa (main body) is usually unadorned. There are several sub-categories of kaitaka: parawai, where the aho (wefts) run horizontally; kaitaka paepaeroa, where the aho run vertically; kaitaka aronui or patea, where the aho run horizontally with tāniko bands on the sides and bottom borders; huaki, where the aho run horizontally with taniko bands on the sides and two broad taniko bands, one above the other, on the lower border; and huaki paepaeroa, which has vertical aho with double tāniko bands on the lower border.

This hair extension was engineered by hair designer Peter King. After testing loose, flowing hair which King found "uncontrollable", he decided to have twenty-seven wefts of real hair woven together into a 30-foot braid, a design which took inspiration from an Arthur Rackham illustration of Rapunzel. In order to bring in enough real Russian hair strands needed for the extension, King and his team had to work with several distributors from Germany and England. The hair-braiding process required three people, each holding a separate strand and weaving in and out.

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).

19th century efforts to acknowledge Kay achieved little, but by 1903 it was felt that Bury "owed John Kay's memory an atonement", and that all Bury should contribute in restitution to "that wonderfully ingenious and martyred man". John Kay's son, Robert, stayed in Britain,If Robert stayed in France at all, he had permanently returned to Bury by 1748. Since Robert was born in 1728, he probably never left Britain when John Kay did. See: and in 1760 developed the "drop-box", which enabled looms to use multiple flying shuttles simultaneously, allowing multicolour wefts.

VIII, 48) that carpets ("polymita") were invented in Alexandria. It is unknown whether these were flatweaves or pile weaves, as no detailed technical information is provided in the Greek and Latin texts. Flat-woven kilims dating to at least the fourth or fifth century AD were found in Turfan, Hotan prefecture, East Turkestan, China, an area which still produces carpets today. Rug fragments were also found in the Lop Nur area, and are woven in symmetrical knots, with 5-7 interwoven wefts after each row of knots, with a striped design, and various colours.

Successive rows of turnarounds of discontinuous wefts create a diagonal line which, in pile rugs, is best seen from the back side, and from the front side only if the pile is heavily worn. A lazy line is created when the weaver does not finish a rug line by line from one side to the other, but sequentially finishes one area after the other. Section lines are frequently observed in antique Oriental carpets, especially in Anatolian rugs of village or rural production, as well as in traditional Navajo weaving.

Section lines are not visible in a rug which still has its full pile, as the pile threads cover the foundation. However, if the wefts are dyed to match the colour of the respective pile area, the foundation of the rug may not shine through once the pile has become worn with use. In the flatwoven, pile-less Navajo textiles, the technique may also be used to enhance certain areas or patterns, and thus contribute to the overall design. As lazy lines result from an individual weaving process, they are not easily reproduced or forged.

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".

TNA AVIA 65/2037, declassified 20 Feb 2013. Documents declassified in 2013 describe in some detail the process whereby a quartz two-dimensional cloth is hand woven from quartz threads with conventional wefts and warps within a stainless steel matrix before being impregnated under pressure with a phenolic resin. A third dimension was then woven through the cavities created by removal of the stainless steel matrix before these threads were impregnated with phenolic resin inside an autoclave pressurised at up to 2000 psi. The resulting material was then lathe-turned to the ReB profile, internally and externally.

The lateral stratum hyphae are 4.4–8.4 µm wide, hyaline, gelatinized in a dilute solution of potassium hydroxide (KOH), and regularly septate. The cap cuticle is a densely interwoven trichodermial palisade (an erect, roughly parallel chains of closely packed cells) of cylindrical elements with inflated terminal cells. The terminal cells are 23.5–51.9 by 9.4–16.8 µm, inamyloid, cylindrical to club-shaped, interwoven, and concentrated on the squamules. The marginal appendiculae are composed of wefts of interwoven inflated hyphae, some with faint golden spirally arranged encrusting pigments that are evident when mounted in water, KOH, and Melzer's reagent.

In this exhibition entitled "Jalons", Hervé Télémaque shows for the first time Témoins (1998) a mural painting symbolizing a return to his Haitian roots. In 2019, he creates the surprise at the Rabouan Moussion gallery in Paris where, in the exhibition "L'inachevée conception", he presents an imposing canvas of ten meters long. Produced in the calm of his workshop in Verneuil-sur-Avre in Normandy, the painting Al l'en Guinée (2016–18) evokes the fantasized journey of a long- distance walker. "It's a hike on life" laughs the painter known for his metaphorical images, steep wefts and diversionary beacons.

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.

Some traditional tools of the craft. The weaver needs a number of essential tools: a knife for cutting the yarn as the knots are tied; a heavy comb-like instrument with a handle for packing down the wefts; and a pair of shears for trimming the pile after a row of knots, or a small number of rows, have been woven. In Tabriz the knife is combined with a hook to tie the knots, which speeds up work. A small steel comb is sometimes used to comb out the yarn after each row of knots is completed.

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.

Symmetrical, or "Turkish" carpet knots in a double-wefted foundation (wefts shown in red) In his textbook on Persian carpets, still famous amongst carpet collectors today, A. C. Edwards has documented how he set up OCM's rug production in the western Iranian town of Hamadan. This region was characterized by a tradition of rural village rug weaving, no rugs were woven in the town itself by 1912. Edwards started with eight looms, set up in a small workshop. By 1948, when Edwards retired, more than 1,000 looms were active in the town, with the largest workshop operating 120 looms.

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.

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.

Loulan, Xinjiang province, China, dated to 3rd-4th century AD. British Museum, London The explorer Mark Aurel Stein found flat- woven kilims dating to at least the fourth or fifth century AD in Turpan, East Turkestan, China, an area which still produces carpets today. Rug fragments were also found in the Lop Nur area, and are woven in symmetrical knots, with 5-7 interwoven wefts after each row of knots, with a striped design, and various colours. They are now in the Victoria and Albert Museum, London. Carpet fragments dated to the third or fourth century BC were excavated from burial mounds at Bashadar in the Ongudai District, Altai Republic, Russia by S. Rudenko, the discoverer of the Pazyryk carpet.

The Persian carpet or Persian rug is an essential and distinguished part of Persian culture and art, and dates back to ancient Persia. Persian carpets are classified by the social setting in which they were woven (nomads, villages, town and court manufactories), by ethnic groups (e.g. Kurds, nomadic tribes such as the Qashqai or Bakhtiari; Afshari, Azerbaijani, Turkmens) and others, or by the town or province where carpets are woven, such as Heriz, Hamadan, Senneh, Bijar, Arak (Sultanabad), Mashhad, Isfahan, Kashan, Qom, Nain, and others. A technical classification for Persian carpets is based on material used for warps, wefts, and pile, spinning and plying of the yarn, dyeing, weaving technique, and aspects of finishing including the ways how the sides (selvedges) and ends are reinforced against wear.

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".

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.

This shrinking, or milling, process made the cloth very dense, bringing all the threads very tightly together, and gave a felted blind finish to the cloth. These factors meant that it was harder wearing, more weatherproof and could take a raw edge; the hems of the garment could be simply cut and left without hemming as the threads were so heavily shrunk together as to prevent fraying. Officers' coats were made from superfine broadcloth; manufactured from much finer imported Spanish wool, spun finer and with more warps and wefts per inch. The result was a slightly lighter cloth than that used for privates, still essentially a broadcloth and maintaining the characteristics of that cloth, but slightly lighter and with a much finer quality finish.

Antique Persian Kerman Rug Kerman has been a major center for the production of high quality carpets since at least the 15th century. By the 17th century Kerman's designers were at their most inventive and their weaving techniques of a sophistication not seen in other parts of the Persian empire. For instance, the weavers had learned to set their looms so that the cotton warps were on two different levels. They then threaded the wool wefts, leaving some tight and others sinuous, giving an immediately recognisable wavy finish to the surface of the carpet In the 18th century some authors considered the carpets from the province, especially at Siftan, to be the finest of all Persian carpets, partly because of the high quality of the wool from the region, known as Carmania wool.

King also dyed the wefts for them to match Mauzy's champagne blonde hair color, and blended together six different shades from ash and strawberry to create realistic gradations and highlights. Between scenes, Mauzy had to "wrap [the hair] around her arm like huge rolls of wool", as recalled by King. A stuntman was used to shoot the hair-climbing scenes, with thin rope and metal rings the only additional tools concealed within the braid to hold the weight of a person climbing up. The film's final shot, which essentially merges into and links back to its first shot, actually transitions digitally between three shots: a Technocrane on location lifting as high as possible into the sky, an aerial drone flying down a valley in Wales, and a shot of an overcast sky in Manhattan, New York City.

The flying shuttle, also known as the wheel-shuttle, had been invented by John senior around 1733 but his commercial acumen did not match his engineering ingenuity and financial problems may have contributed to the move abroad. Robert had returned to Bury probably in 1759 and in either that year or 1760, he designed a method for deploying multiple shuttles simultaneously, enabling the use of wefts of more than one colour and so making it easier for the weaver to produce cross-striped material. These shuttles were housed at the side of the loom in what became known as the drop box. He did not patent the invention but went on to produce other improvements to the shuttle that assisted in producing checked material and ticking for beds, as well as a mechanism for manufacturing the cards used in carding machines.

Drawing of a Whitin loom featuring four drop boxes In weaving, a drop box or dropbox is a housing for a shuttle, invented in 1759 or 1760 by Robert Kay (1727-1802) in Bury, Lancashire. The box sits beside a loom and allows one to rapidly switch between two shuttles with bobbins, usually of different colors, making it easier and quicker to weave multiple colors for figured fabrics or striped wefts without stopping to manually change shuttles. The drop box consists of a partitioned lift mechanism at one end of the loom, of which any section can be lowered to the working height of the loom so that the shuttle can be loaded. Whilst the drop box made weaving equipment significantly more complex and expensive, it made the process much faster and contributed to a greater uptake of the flying shuttle which was invented by Robert Kay's father John Kay.

1450 Wool fabrics were dyed in rich colours, notably reds, greens, golds, and blues, although the actual blue colour achievable with dyeing with woad (and less frequently indigo) could not match the characteristic rich lapis lazuli pigment blues depicted in contemporary illuminated manuscripts such as the Très Riches Heures du duc de Berry. Silk-weaving was well established around the Mediterranean by the beginning of the 15th century, and figured silks, often silk velvets with silver-gilt wefts, are increasingly seen in Italian dress and in the dress of the wealthy throughout Europe. Stately floral designs featuring a pomegranate or artichoke motif had reached Europe from China in the 14th century and became a dominant design in the Ottoman silk- producing cities of Istanbul and Bursa, and spread to silk weavers in Florence, Genoa, Venice, Valencia and Seville in this period.Late 15th century Italian (Venice) Velvet at the Metropolitan Museum of Art Fur was worn, mostly as a lining layer, by those who could afford it.

He spent much of his time at Staffordshire dye works mastering the processes of that art and making experiments in the revival of old or discovery of new methods. One result of these experiments was to reinstate indigo dyeing as a practical industry and generally to renew the use of those vegetable dyes, such as the red derived from madder, which had been driven almost out of use by the anilines. Dyeing of wools, silks, and cottons was the necessary preliminary to what he had much at heart, the production of woven and printed fabrics of the highest excellence; and the period of incessant work at the dye-vat (1875–1876) was followed by a period during which he was absorbed in the production of textiles (1877–1878), and more especially in the revival of carpet-weaving as a fine art. Morris's patterns for woven textiles, some of which were also machine made under ordinary commercial conditions, included intricate double-woven furnishing fabrics in which two sets of warps and wefts are interlinked to create complex gradations of colour and texture.