Commenced in January 2007
Frequency: Monthly
Edition: International
Paper Count: 5

Weaving Related Abstracts

5 Seersucker Fabrics Development Using Single Warp Beam

Authors: Yasir Nawab, Muhammad Maqsood, Muhammad Umair, Khubab Shaker, Muhammad Usman Javed

Abstract:

Seersucker is a thin and puckered fabric commonly striped or chequered, used to make clothing for spring and woven in such a way that some threads bunch together, giving the fabric a wrinkled appearance in places. Due to use of two warp beams, such fabrics were not possible to weave on conventional weaving machines. Objective of this study was to weave a seersucker fabric on conventional looms using single warp beam. This objective was achieved using two types of yarns, forming stripes in weft: one being 100% cotton yarn and the other core spun elastane yarn with sheath of cotton (95.7% cotton and 4.3% elastane). Stress-strain behaviour of the produced fabric samples were tested and explained.

Keywords: Weaving, seersucker fabrics, elastane yarns, single warp beam

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4 Reviving the Ancient Craft of Patteda Anchu Saree Weaving of Karnataka, India

Authors: Hemalatha Jain, M. Vasantha

Abstract:

Patteda Anchu is one of the first variety of sari woven centuries ago in Gajendragarh village from Gadag district of north Karnataka. The sari played a significant role in bringing together the socio-cultural aspect in ancient days. It was used as wedding sari for bride and also to adorn goddess Yellamma Saundatti by the devotees. Indian traditional art and crafts were rich in culture and diversity, however with the onset of liberalisation and end of the license raj lot of traditional Indian artwork are on the verge of extinction today. Patteda Anchu is one of the examples of traditional art lost to globalisation. The main aim of the study was to document the ancient weaving tradition of the Patteda Anchu and revive by exploring the weaving possibility as yardage with different product layout. To accomplish the formulated objectives a exploratory cum diagnostic study was planned. Data was collected through observations and interviews schedule during the field visits in Gajendragarh village. There are very few weavers weaving on traditional looms and many weavers who have moved to weaving other sari's or construction work were interviewed to understand the downfall of the sari. The discussions and interviews conducted with the local weavers, shop keepers, sales agents, weaving society, NGOs and Self help groups helped in unearthing the new opportunities to develop products for the local and national market and help start weaving of Patteda Anchu and expand its market. The handloom art details in terms of raw materials, loom set up, dyeing, types of Patteda Anchu, weaving process and colors were documented through photographs, video recordings and supplemented with notes. Based on the analysis of the feedback gathered it was recommended to develop products on the handloom without changing the width frame or design of the traditional weaving methods. The weavers, weavers society and other cooperatives centres also were in consent with the new product development which will help sustain the Patteda Anchu.

Keywords: Weaving, Gajendragarh, patteda Anchu sari, revival of traditional art, handloom

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3 Innovative Handloom Design Techniques- an Experimental Study Based on Primary Colour Gradation

Authors: Akanksha Pareek

Abstract:

The Indian Handloom clusters are known for its tradition and heritage of excellent craftsmanship. The design development of Indian handloom clusters are oriented on traditionally dobby and jacquard design. This comprehensive paper proposes practises on handloom woven design based on primary colour gradation with the help of basic weaved on four shaft. The innovative design ideas are inspired from Nature and transferred into the handloom samples to achieve colour gradation with primary colours. In this paper, design methodology where in woven samples are strategically designed in such way that traditional knowledge of the weavers will be oriented to leveraged their skills.

Keywords: Weaving, shaft, handloom, colour gradation

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2 The Influence of Islamic Arts in Omani Weaving Motifs

Authors: Zahra Ahmed Al-Zadjali

Abstract:

The influence of Islam on arts can be found primarily in calligraphy, arabesque designs and architecture. Also, geometric designs were used quite extensively. Muslim craftsmen produced stunning designs based on simple geometric principles and traditional motifs which were used to decorate many surfaces. The idea of interlacing simple rectilinear lines to form the patterns impressed Arabs. Nomads of Persia, Turks and Mongols were equally impressed with the designs so they begin to use them in their homes in carpet weaving. Islamic designs, motifs and colours which were used became common place and served to influence people’s tastes. Modern life style and contemporary products have changed the style of people’s daily lives, however, people still long for the nomadic way of life. This is clearly reflected in people’s homes. In a great many Muslim homes, Islamic decorative motifs can be seen along with traditional ‘Bedouin’ style furnishing, especially in homes of the Arabian Peninsula.

Keywords: Design, Art, Weaving, oman, craft

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1 Development of Stretchable Woven Fabrics with Auxetic Behaviour

Authors: Adeel Zulifqar, Hong Hu

Abstract:

Auxetic fabrics are a special kind of textile materials which possess negative Poisson’s ratio. Opposite to most of the conventional fabrics, auxetic fabrics get bigger in the transversal direction when stretched or get smaller when compressed. Auxetic fabrics are superior to conventional fabrics because of their counterintuitive properties, such as enhanced porosity under the extension, excellent formability to a curved surface and high energy absorption ability. Up till today, auxetic fabrics have been produced based on two approaches. The first approach involves using auxetic fibre or yarn and weaving technology to fabricate auxetic fabrics. The other method to fabricate the auxetic fabrics is by using non-auxetic yarns. This method has gained extraordinary curiosity of researcher in recent years. This method is based on realizing auxetic geometries into the fabric structure. In the woven fabric structure auxetic geometries can be realized by creating a differential shrinkage phenomenon into the fabric structural unit cell. This phenomenon can be created by using loose and tight weave combinations within the unit cell of interlacement pattern along with elastic and non-elastic yarns. Upon relaxation, the unit cell of interlacement pattern acquires a non-uniform shrinkage profile due to different shrinkage properties of loose and tight weaves in designed pattern, and the auxetic geometry is realized. The development of uni-stretch auxetic woven fabrics and bi-stretch auxetic woven fabrics by using this method has already been reported. This study reports the development of another kind of bi-stretch auxetic woven fabric. The fabric is first designed by transforming the auxetic geometry into interlacement pattern and then fabricated, using the available conventional weaving technology and non-auxetic elastic and non-elastic yarns. The tensile tests confirmed that the developed bi-stretch auxetic woven fabrics exhibit negative Poisson’s ratio over a wide range of tensile strain. Therefore, it can be concluded that the auxetic geometry can be realized into the woven fabric structure by creating the phenomenon of differential shrinkage and bi-stretch woven fabrics made of non-auxetic yarns having auxetic behavior and stretchability are possible can be obtained. Acknowledgement: This work was supported by the Research Grants Council of Hong Kong Special Administrative Region Government (grant number 15205514).

Keywords: Weaving, auxetic, stretchable, differential shrinkage, negative Poisson's ratio

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