Weaving is a textile production method in which two different sets of threads or yarns are interconnected at right angles to form cloth or fabric. Other methods are knitting, knitting, felting, and braiding or weaving. Longitudinal threads are called warp and lateral threads are feed or stuffing. ( Feed or is an old English word meaning "woven".) The method by which these threads are woven together affects the fabric characteristics. Fabrics are usually woven on a loom, a tool that holds the warp thread in place while filling the thread that is wound through it. The fabric tape that meets the definition of this fabric (warp thread with the weft thread) can also be made using other methods, including woven tablets, rope, or other techniques without looms.
The way the warp and filling yarns are interconnected to each other is called the weave. The majority of weaving products are made with one of three basic weaves: plain weave, satin weave, or twill. Woven fabrics can be plain (in one color or simple pattern), or can be woven in a decorative or artistic design.
Video Weaving
Proses dan terminologi
In general, weaving involves using looms to pair two sets of yarns on the right angles of each other: longitudinal longitudinal and feed (older woof ) passing through it. One warp thread is called an end and one thread feed is called a pick . The spindle threads are held tense and aligned with each other, usually in looms. There are many types of looms.
The weave can be summarized as a repetition of these three actions, also called the main movements of the loom .
- Shedding: where the edges are separated by raising or lowering the heald (heddles) frame to form an empty space where the pick can pass
- Choose: feed or picker place in the loom by hand, jet airplane, rapier, or space shuttle.
- Hit-or resist: where the feed is pushed onto the fall of the cloth by the reed.
The arch is divided into two overlapping groups, or lines (most often adjacent yarns belonging to the opposite group) that run in two fields, one above the other, so that the space shuttle can be passed between them in a straight motion. Then, the upper group is lowered by the mechanism of the loom, and the lower group is shedding, allowing it to pass a space shuttle in the opposite direction, also in straight motion. Repeating this action forms a cloth net but without beating, the final distance between adjacent wefts will become irregular and too large.
secondary motion loom is:
- Release Motion: in which the weft releases the beam winding at a set speed to make charging even and from the required design
- Take Up Motion: Brings woven fabric in an orderly fashion so that the charge density is maintained
the tertiary movement of the loom is the stop motion: to stop the loom in the event of a broken thread. The two main stop moves are
- arc stop motion
- stop feed movement
The main parts of the loom are frames, warp or weaver beams, rolls (apron bars), foals, and mountings, reeds. The beams are wood or metal cylinders at the back of the loom where the weft is delivered. The warp threads extend in parallel sequence from the warp beam to the front of the loom where they are attached to a cloth roll. Each thread or warp thread threads through the hole (eye) in the hedge. The warp thread is separated by heddles into two or more groups, each of which is controlled and automatically pulled up and down by heading movement. In the case of small patterns the motion of heddles is controlled by "cams" that move up into heddles by using a frame called harness; in a larger pattern, heddles are controlled by the dobby mechanism, in which healds are generated by pegs inserted into the rotating drum. Where a complex design is required, the heralds are raised by a harness strap attached to a Jacquard machine. Whenever the hedges are moving up or down, the shed is made between the warp thread, where the pick is inserted. Traditionally the feed yarn is inserted by the shuttle.
In conventional looms, feed yarns are brought to pirn, in the space shuttle that passes through the warehouse. The handloom weavers can push the space shuttle by throwing it from side to side with the help of a picking stick. The "pick" on the electric loom is done by rapidly hitting the plane from any side using an overpick or underpick mechanism controlled by the Cams 80-250 times per minute. When the pyrant is exhausted, it is removed from the plane and replaced with the next pirn stored in the battery attached to the loom. Some shuttle boxes allow more than one space shuttle to be used, each of which can carry different colors that allow transverse in the loom.
The rapier type weaving machines do not have shuttles, they move the feed by using small grippers or rapier that pick up the filler thread and carry it half over the loom where the other Rapier picks it up and pulls the rest of the way. Some carry filler threads in looms priced at more than 2,000 meters per minute. Manufacturers like Picanol have reduced the mechanical adjustment to a minimum, and controls all the functions through a computer with a graphical user interface. Another type uses compressed air to insert a pick. They are all fast, versatile and quiet.
This is a sized mixture of starches to run more smoothly. The curved weave (loosely or dress) by passing the dimpled yarn through two or more heddles attached to the armor. The loom weavers are warped by separate workers. Most looms used for industrial purposes have machines that bind new warp threads with knitted yarn waste previously used, while still in looms, then the operator rolls old and new yarns back to the beam bolts. The harness is controlled by cams, dobbies or Jacquard heads.
The increase and decrease in the order of the warp thread in various sequences gives rise to many possible weaving structures:
- plain weave: plain, and skipping, poplin, taffeta, poult-de-soie, pibiones, and grosgrain.
- twill weave: this is explained by the float of the feed followed by float float, arranged to give a diagonal pattern. 2/1 twill, 3/3 twill, 1/2 twill. This is a softer cloth than plain weave.
- satin weave: satin and saten,
- complex inter-computer interlasting.
- pile of cloth: like velvet and velvet
Both warp and weft can be seen in the final product. By widening the weft closer, it can actually cover the feed that binds it, giving the textile weapy faced textiles like woven repp. Conversely, if the warp is scattered, the feed may slide down and completely cover the warp, giving textiles the feed it faces, such as a rug or a Kilim carpet. There are various styles of weaving for hand woven and rugs.
Maps Weaving
History
There are some indications that weaving has been known in the Paleolithic era, as early as 27,000 years ago. An obscure textile impression has been found on the site DolnÃÆ' V? Stonice. According to the findings, weavers from Upper Palaeolithic are producing various types of straps, producing plait webbing and woven fabrics and plain woven fabrics. Artifacts include traces of clay and remnants of burning cloth.
The oldest textiles found in America are the remains of six finely woven textiles and ropes found in Guitarrero Caves, Peru. The weave, made of plant fiber, is dated between 10100 and 9080 BC.
Middle East and Africa
The earliest Neolithic textile production known in the Old World is supported by the discovery of 2013 from a piece of cloth woven from hemp, in the burial of F. 7121 on the site of ÃÆ'â € atalhÃÆ'¶yÃÆ'¼k it is suggested to be about 7000 BC. Further findings come from advanced civilizations that are preserved in pole dwellings in Switzerland. Another remaining fragment of Neolithic is found in Fayum, on a site dated around 5000 BC. This fragment is woven around 12 threads with 9 sizes per cm in a plain weave. Flax is the main fiber in Egypt today (3600 BC) and continues to be popular in the Nile Valley, although wool became the main fiber used in other cultures around 2000 BC. Weaving is known in all great civilizations, but no clear causal lines have been established. Early looms require two people to create a warehouse and one person to pass the charging. Early looms weave a fixed piece of cloth, but then are left bent to bend as it falls. The weavers are often children or slaves. The weave becomes simpler when the weft is sized.
Americas
The Native American Society weaves cotton textiles throughout tropical and subtropical America and in South American Andean wool from camelids, mainly domestic llamas and alpacas. Cotton and camelid are domesticated by about 4,000 BC. American weavers "are credited independently of creating virtually any non-mechanical technique known today." In the Inca Empire of the Andes, women do most of the weavings using backstrap looms to make small pieces of cloth and vertical frames and single-heddle looms for larger pieces. The Andean textile fabric is of practical, symbolic, religious, and ceremonial importance and is used as currency, tribute, and as a determinant of social class and rank. The 14th century Spanish colonists were impressed by the quality and quantity of textiles produced by the Inca Empire. Some techniques and designs are still used in the 21st century.
The oldest known weave in North America comes from the Windover Archaeological Site in Florida. Dating from 4900 to 6500 BC. and made from plant fibers, the Windover hunter-gatherers produce fine textiles of fine woven and finely made fabrics.
China dan Asia Timur
The silk weaving of silkworm cocoons has been known in China since about 3500 BC. The woven and intricately dressed silk, showing the well-developed craft, has been found in a Chinese tomb dating from 2700 BC.
Sericulture and silk weaving spread to Korea by 200 BC, to Khotan by 50 CE, and to Japan around 300 CE.
The pit-treadle loom may originate in India although most authorities set this discovery in China. Pedal is added to operate the heddles. In the Middle Ages, such devices also appeared in Persia, Sudan, Egypt, and perhaps the Arabian Peninsula, where "the operator sits with his feet in a hole under a fairly low loom." In the year 700 AD, horizontal looms and vertical looms can be found in many parts of Asia, Africa and Europe. In Africa, the rich are wearing cotton while the poorer are wearing wool. In the 12th century it has come to Europe either from Byzantine or Moorish Spain where the mechanism was raised higher above the ground on a larger skeleton.
Medieval Europe
The dominant fibers are wool, followed by linen and nettlecloth for the lower classes. Cotton was introduced to Sicily and Spain in the 9th century. When Sicily was captured by the Normans, they took the technology to Northern Italy and then throughout Europe. The production of silk fabrics was reintroduced at the end of this period and more sophisticated silk weaving techniques were applied to other staples.
Weavers work at home and market their fabrics at exhibitions. Warp-weighted looms were common in Europe before the introduction of horizontal looms in the 10th and 11th centuries. The weave became the city's craft and governed their trade, the craftsmen applied to found a guild. It was originally a merchant's guild, but developed into a separate trade union for every skill. The cloth merchant who is a member of the city weaver's union is allowed to sell cloth; he acts as an intermediary between the weaver trader and the buyer. Gilda trade controls the quality and training required before an artist can call himself a weaver.
In the 13th century, organizational changes took place, and the extinguishing system was introduced. The cloth merchant buys wool and gives it to the weaver, who sells the product back to the merchant. The trader controls the level of payments and economically dominates the fabric industry. The prosperity of traders is reflected in the wool cities of east England; Norwich, Bury St Edmunds, and Lavenham are good examples. Wool is a political issue. The yarn supply always limits the weaver's output. Around that time, spindle spinning methods were replaced by large wheels and soon after the pedal-driven spinning wheel. The loom remains the same but with the increase in the volume of the yarn it can be operated continuously.
The 14th century underwent many changes in the population. The 13th century has been a period of relative peace; Europe becomes densely populated. Bad weather causes a series of bad harvests and hunger. There were many fatalities in the Hundred Years War. Then in 1346, Europe was hit by Black Death and its population was reduced by half. Cultivable land is labor-intensive and can no longer be found. The price of land goes down, and the land is sold and put in sheep grass. Merchants from Florence and Bruges bought wool, then landlord owners of sheep owners began to weave wool outside the jurisdiction of city and trade guilds. The weavers start by working in their own homes then the production is transferred to a specially constructed building. Working hours and number of jobs arranged. The blackout system has been replaced by the factory system.
The Migration of Weavers Huguenot, a Calvinist who escaped religious persecution in mainland Europe, to England around 1685 challenged the British weavers from cotton, wool and wool fabrics, who later learned superior techniques of Huguenot.
Industrial Revolution
Before the Industrial Revolution, weaving was a manual craft and wool was the main point. In large wool districts, a form of factory system has been introduced but the highland weavers work from home with a putting-out system. Wooden looms at that time may be broad or narrow; the wide loom is a tool that is too wide for the weaver to pass the shuttle through the warehouse, so the weavers need expensive assistants (often interns). This was not necessary anymore after John Kay found the space shuttle flying in 1733. The shuttle and the picking rod accelerated the weaving process. Thus there is a shortage of yarn or surplus weaving capacity. The opening of the Bridgewater Canal in June 1761 allowed cotton to be brought to Manchester, a fast-flowing river area that could be used for electric machines. Spinning is the first to be mechanized (spinning jenny, spinning mule), and this causes unlimited threads for the weavers.
Edmund Cartwright first proposed constructing a weaving machine that would function similar to a recently developed cotton mill in 1784, drawing scorn from critics who say the weaving process is too nuanced to be automated. He built a factory in Doncaster and obtained a series of patents between 1785 and 1792. In 1788, his brother Major John Cartwight built the Revolutionary Mill at Retford (named after the centuries of the Great Revolution). In 1791, he licensed his loom to the Grimshaw brothers in Manchester, but their Knott Mill was burned the following year (possibly a burning case). Edmund Cartwight was awarded a prize of Ã, Â £ 10,000 by Parliament for his efforts in 1809. However, success in electric drains also required improvements by others, including H. Horrocks of Stockport. Only for two decades after about 1805, did the wonders clutch. At that time there were 250,000 hand weavers in England. Textile making is one of the leading sectors in the British Industrial Revolution, but weaving is a relatively late sector to be mechanized. The loom became semi-automatic in 1842 with Kenworthy and Bulloughs Lancashire Loom. Various innovations take weaving from the activities of home-based craftsmen (labor intensive and labor) to steam-driven manufacturing processes. Large metal manufacturing industry grows to produce looms, companies like Howard & amp; Bullough of Accrington, and Tweedales and Smalley and the Platt Brothers. Most of the power wears happen in the weaving warehouses, in the small towns that surround Greater Manchester from the cotton spinning area. The previous combination plant where spinning and weaving takes place in adjacent buildings becomes sparse. Wool and woolen weaving takes place in West Yorkshire and especially Bradford, here there are large factories like Lister or Drummond, where all the proceedings take place. Both men and women with emigrating weaving skills, and bring knowledge to their new home in New England, to places like Pawtucket and Lowell.
Woven gray fabrics are then shipped to a whitened, dyed and printed finish. Natural dyes were originally used, with synthetic dyes coming in the second half of the 19th century. The need for these chemicals is an important factor in the development of the chemical industry.
The discovery in France of Jacquard looms around 1803, allowing intricate patterned fabrics to be woven, using hollow cards to determine the colored yarn threads that will appear on the upper side of the fabric. Jacquard allows individual control of every warp thread, line by line without repetition, so a very complicated pattern can suddenly be done. Samples exist that show calligraphy, and woven copies of the carvings. Jacquard can be attached to handlooms or powerlooms.
The weaver's role
Differences can be made between the role and lifestyle and the status of handloom weavers, and that powerloom weavers and craftsmen. The perceived threat from the power of the loom caused industrial unrest and turmoil. Famous protest movements like Luddites and Chartist have hand looms among their leaders. At the beginning of the 19th century the mastery of the weave became feasible. Richard Guest in 1823 made a comparison of power productivity and weaver hand loom:
A very good Hand Wearer, a twenty-five or thirty-year-old man, will weave two shrinking nine-to-eight pieces per week, each twenty-four feet long, and contain one hundred and five shoots of yarn in an inch, the reed is forty-four, the number of Bolton, and the warp and forty hanks to pound, A Steam Loom Weaver, the age of fifteen, at the same time weave the same seven pieces.
He then speculated about the wider economy using powerloom weavers:
... it can be said very safely, that the work done in the Steam Factory which contains two hundred looms will, if done with the Weavers hands, find work and support for a population of over two thousand people.
Hand woven handmaker
The weaving of the hands of the weaver is mainly male - because of the strength needed for the battens. They work from home sometimes in a bright attic room. The women in the house would turn the threads they needed, and finish them. Then the women took the weaving, they got the yarn from the spinning mills, and worked as outsiders on the piecework contract. Over time competition from the power of looms drove down wages per unit and they exist in increasing poverty.
Power loom weavers
The weaving workers are usually girls and young women. They have security for hours fixed, and except in difficult times, like in cotton famine, regular income. They are paid wages and bonuses work piece. Even when working in a joint factory, weavers stay together and enjoy a close community. Women usually think of four machines and let the loom be oiled and clean. They are assisted by 'small tents', children with fixed wages that perform tasks and perform small tasks. They learn the weaver's work by watching. Often they will be half timers, carrying green cards that will be addressed by teachers and observers to say that they come to the factory in the morning and afternoon at school. At the age of fourteen or more they come full-time to the factory, and start by sharing looms with experienced workers where it is important to learn quickly because both will work. Serious problems with looms are left to the detainees to sort out. He will surely be a man, as usually observers. The factory has health and safety issues, there is a reason why women tie their hair back with a scarf. Inhaling cotton dust causes lung problems, and noise causes total hearing loss. The weaver will be silent because normal conversation is impossible. The weavers are used to 'kiss the shutttle' which sucks the threads though the eyes of the space shuttle - this leaves a foul taste in the mouth because the oil is also carcinogenic.
Craft Weavers
Arts and Crafts is an international design philosophy that originated in England and developed between 1860 and 1910 (especially the second half of that period), continuing its influence until the 1930s. Incited by artist and writer William Morris (1834-1896) during the 1860s and inspired by the writings of John Ruskin (1819-1900), it had the earliest and most complete development in the British Isles but spread to Europe and North America. It is largely a reaction to the mechanization and philosophy that advocates traditional skills by using simple forms and often medieval, romantic or folk decorative styles. Hand woven is greatly appreciated and taken as a decorative art.
Bauhaus Weaving Workshop
In the 1920s the weaving workshop of the Bauhaus design school in Germany aims to increase weaving, previously seen as handicrafts, to fine arts, as well as to investigate the requirements of modern weaving and fabric industries. Under the direction of Gunta StÃÆ'¶lzl, the workshop experimented with unorthodox materials, including plastic, fiberglass, and metal. From expressionist rugs to the development of soundproof and light reflective fabrics, this innovative workshop approach brings out the modern theory of weaving. The former student and teacher of the Bauhaus, Anni Albers, published a fictitious 20th century text on Weaving Time in 1965. Other figures from Bauhaus weaving workshops include Otti Berger, Margaretha Reichardt, and Benita Otte.
Other cultures
Weave in the American Colony (1500-1800)
Colonial America relies heavily on the UK for manufactured goods of all kinds. British policy is to encourage the production of raw materials in the colony and prevent manufacturing. Wol Act 1699 limits the export of colonial wool. As a result, many people weave cloth from locally produced fibers. The colonists also use wool, cotton and hemp (linen) for weaving, although hemp can be made into a serviceable canvas and a thick cloth. They can get one cotton plant every year; until the invention of the cotton gin is a labor-intensive process to separate the seeds from the fibers.
Plain weave is preferred because of the additional skills and time required to make the more complicated weaving prevents it from common use. Sometimes the design is woven into fabric but is mostly added after weaving using wooden or embroidered block prints.
American Southwest
Textile fabrics, using cotton-colored pigments, are the dominant craft among the pre-contact tribes in the southwestern United States, including various Pueblo, Zuni, and Ute tribes. The first Spaniards to visit the region wrote about looking at the Navajo quilt. With the introduction of Navajo-Churro sheep, the resulting wool products have become very popular. In the 18th century Navajo began importing yarns with their favorite colors, red Bayeta. Using a straight loom, the Navajos woven blanket was worn as a garment and then a tapestry after the 1880s for trade. Navajo is traded for commercial wool, such as Germantown, imported from Pennsylvania. Under the influence of European-American settlers on the trading post, Navajos created new and different styles, including "Two Gray Dunes" (dominated black and white, with traditional patterns), "Teec Nos Pos" (colorful, with patterns very broad), "Ganado" (founded by Don Lorenzo Hubbell), a predominantly red pattern with black and white, "Crystal" (founded by JB Moore), Oriental and Persian style (almost always with natural dye), "Wide Ruins," "Chinlee," ribboned geometric patterns, "Klagetoh," diamond type patterns, "Red Mesa" and thick diamond patterns. Many of these patterns show four-dimensional symmetry, which is thought to embody a traditional notion of harmony, or hÃÆ'³zhÃÆ'³ .
Amazon culture
Among the indigenous people of the Amazon basin, which are woven dense in a palm-tree bed, or tent, are used by the Panoans, TupinambÃÆ'¡¡, West Tucano, Yameo, ZÃÆ'¡paroans, and probably by the indigenous peoples of the central Huallaga River valley (Steward 1963: 520). Aguaje palm-bast (Mauritia flexuosa, Mauritia minor, or palm swamp) and Chambira palm leaf spears (Astrocaryum chambira, A.munbaca, A.tucuma, also known as Cumare or Tucum) have been used for centuries by Urarina Amazon Peru for making a strap, a bag of hammocks, and for weaving cloth. Among Urarina, the production of fiber-plaited goods is colored with varying degrees of aesthetic attitudes, which draws its authenticity from Urarina's primordial reference. The mythology of Urarina proves the centrality of weaving and its role in giving birth to the Urarina community. The myth of post-liturgical creation gives women woven knowledge an important role in the social reproduction of Urarina. Although palm fiber fabrics are regularly excluded from circulation through funerary ceremonies, the wealth of Urarina palm fiber is not entirely inevitable, nor can it be replaced as it is the basic medium for work expression and exchange. The circulation of palm fiber wealth stabilizes a number of social relationships, ranging from marriage and fictive family relationships ( compadrazco , spiritual spirituality) to perpetuating relationships with the deceased.
Computer science
The Nvidia Parallel Thread Execution ISA derives some terminology (in particular the term Warp to refer to a group of concurrent processing threads) from historical weaving traditions.
See also
- Weaving basket
- Persian weave
- Petate
- The term textile manufacturing
- Weaving (mythology)
Note
References
Bibliography
External links
- EncyclopÃÆ'Â|dia Britannica 1911 - Weaving in the Wayback Machine (archived May 28, 2013)
- Collection of resources An on-line article storage (4720), books (459), illustrations (271), patents (398) and magazines (1322) relating to weaving.
- English PathÃÆ' Â © Woven Fabrics 1940-1949 Educational Film
- Picture Guides on Tilling and Weaving: Rural Life in China from 1696
Source of the article : Wikipedia
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