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Journal articles on the topic 'Textile fabrics – Terminology'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Smykalo, К., О. Zakora, N. Zashchepkina, and О. Yaryha. "HAIRINESS AS A SURFACE PROPERTY OF TEXTILE." Bulletin of the Kyiv National University of Technologies and Design. Technical Science Series 138, no. 5 (2020): 62–70. http://dx.doi.org/10.30857/1813-6796.2019.5.7.

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Determine the essence of the concept of «surface properties of textiles» and justify the degree of influence of the phenomenon of hairiness of textile materials on the surface properties of textile products. The analytical method is used in this work. The study contains a systematic analysis of scientific publications, the terminology of international standards and modern developments in the field of determining the surface properties of tissues. Based on the analysis of scientific research, it was found that various authors refer to the surface properties of textile materials a different set

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2

Shareef Al-Azzawi, Rana Alaa, and Hoda A. S. Al-Alwan. "Eco-friendly Textile Architecture: A Review of Concepts, Terms and Sustainable Applications." IOP Conference Series: Earth and Environmental Science 1440, no. 1 (2025): 012009. https://doi.org/10.1088/1755-1315/1440/1/012009.

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Abstract Textile architecture has a long history, originating between 40.000 and 44.000 BCE. However, nowadays, it is considered a new discipline that uses fabrics, cutting-edge textiles, and textile materials to create amazing, attractive, and visually appealing lightweight, flexible, translucent structures. These structures are characterized by the innovation of textiles and advanced technologies, guaranteeing efficient functionality, aesthetics, durability, and sustainability. Some studies have focused on the structural and environmental behavior of textile structures, while other studies f

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3

Plesa, Alexandra D. "Popular Garments, Fabrics and Colours. Textile Terminology in Early Islamic Arabic Documents in Egypt." Beiträge zur islamischen Kunst und Archäologie 7, no. 1 (2021): 89–112. http://dx.doi.org/10.29091/9783954905478/009.

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4

Mehta, Zeal, and Maitri Shah. "Pattern cutting/making course: A study on the extent of learning provided by design schools and the students’ inclination towards it." GLS KALP: Journal of Multidisciplinary Studies 1, no. 4 (2024): 50–65. http://dx.doi.org/10.69974/glskalp.01.04.65.

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The process of making or cutting patterns is called pattern-cutting, sometimes also called Patternmaking. The terminology is differing for everyone; college to college, city to city, country to country, but teaches the same. A pattern is a template from which the main fabric is cut and sewed to make the garments; they are usually made of paper, but they can be of fabrics too. Pattern cutting is usually done using two methods: The flat cutting method (2D) and the Draping method (3D). Under this, they can be further divided into two methods: Traditional pattern cutting and Creative pattern cutti

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Kusko, Kateryna. "Modern Textile Panel Of Ukraine Using Local Dyeing Techniques." Bulletin of Lviv National Academy of Arts, no. 52 (July 11, 2024): 66–73. http://dx.doi.org/10.37131/2524-0943-2024-52-6.

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The Ukrainian artistic fabric of the times of independence is often realized in the form of a unique handmade panel. The article aims to clarify the figurative, thematic, stylistic, and technological dynamics of Ukrainian panel art in surface decoration techniques from the early 2000s to the present, the correlation of the mentioned components, to characterize the peculiarities of the work of the most productive artists, and to clarify the issue of terminology. The article examines the terminology used in domestic practice, analyzes it and compares it with the international terminology. It has

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6

Ribarović, Vana. "Old and new terminology describing fabrics of the women's traditional dress of Split." Portal, no. 14 (December 29, 2023): 197–207. http://dx.doi.org/10.17018/portal.2023.11.

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Prilikom pregleda zapisa u muzejskoj dokumentaciji Etnografskog muzeja Split, prije provedbe konzervatorsko-restauratorskih radova na nekoliko predmeta koji su dijelovi svečane ženske splitske narodne nošnje, uočeno je da su pri inventarizaciji, kod opisa temeljne tkanine, korišteni termini lokalnog govora i tadašnjeg standardnog jezika koji su danas nejasni. Cilj rada je objasniti i prevesti termine zatečene u dokumentaciji referirajući se na stručnu terminologiju dostupnu na više svjetskih jezika u rječnicima međunarodne organizacije Centre International d’Etude des Textiles Anciens (CIETA),

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7

Soukupová, Veronika. "Tapiserie nebo nové umění? Proměny československé tapiserie v průběhu šedesátých let." AUC PHILOSOPHICA ET HISTORICA 2021, no. 1 (2023): 167–89. http://dx.doi.org/10.14712/24647055.2023.9.

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The paper is a part of bachelor’s thesis entitled Tendencies Towards Pictorial Expressions in the 1960s Czechoslovak Textile Art. It deals with Czechoslovak textile art of the 1960s with a focus on woven tapestry. Against the background of the work of individual artists and contemporary theoretical reflections, it follows the parallels between the tendencies of fine art and textile art and the ever-increasing autonomy of textile expression related to the authors’ creative approach and the abandonment of the principles of applied art or decorative art. The work deals with artist-creator tapestr

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8

Kovalyova, K. O. "MOTIVATIONAL FEATURES OF THE LINGUOCULTURAL CONCEPT TEXTILE IN THE ENGLISH LANGUAGE." Writings in Romance-Germanic Philology, no. 1(48) (July 5, 2022): 33–40. http://dx.doi.org/10.18524/2307-4604.2022.1(48).259808.

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The article is dedicated to the investigation of the motivational features of the linguocultural concept TEXTILE in the English language. The investigation has been done within the framework of the cognitive scientific paradigm, namely, linguoconceptology and linguoculturology. Despite the large number of researches devoted to the study of motivational features of concepts in the English language, it should be admitted that the concept of TEXTILE still has not been properly investigated. According to the fact that the motivational features are understood as the internal form of the word, etymo

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9

Luo, Yuzi, and Gilsoo Cho. "Fabrication of Electroconductive Textiles Based Polyamide/Polyurethan Knitted Fabric Coated with PEDOT:PSS/Non-oxidized Graphene." Fashion & Textile Research Journal 24, no. 1 (2022): 146–55. http://dx.doi.org/10.5805/sfti.2022.24.1.146.

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10

Belova, Alla. "Sustainable fashion in the English language mirror." 25, no. 25 (December 30, 2022): 9–18. http://dx.doi.org/10.26565/2218-2926-2022-25-01.

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The research is conducted in the critical eco-linguistics domain, an umbrella term for diverse academic inquiries and empirical evidence. The aim of the article is the analysis of English words and lexical structures used to verbalize two major aspects of sustainable fashion as a new movement and world vision – ethical fashion and conscious fashion with the focus on animals in fashion and thrifting. Sustainable fashion has a number of dimensions categorized as conscious, green, and circular, eco-friendly fashion, ethical fashion, vegan fashion. The goal of conscious fashion has much in common

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11

KUBIK, Adam. "Przedstawienie irańskich końskich pancerzy w azerbejdżańskim romansie Varqa i Gulshah z początku 13 wieku. O sasanidzkiej? genezie elementu końskiego oporządzenia w okresie seldżuckim." Historia i Świat 3 (September 10, 2014): 61–71. http://dx.doi.org/10.34739/his.2014.03.04.

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The richly illustrated 13th century Seljuk manuscript Varqa and Gulshah from Azerbaijan provides a number of lavish miniatures, some depicting armored warriors riding horses covered with richly decorated caparisons. The illustrations show that the long caparisons were multi-layered, an indication that they were designed to offer some protection for the mounts. Despite the scholars’ opposing opinions, the author maintains that caparisons were well established in Islamic armies as attested by literary sources and iconography. Moreover, the existence of rich terminology concerning different types

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Alieva, Mehrinoz. "On the History of the Uzbek National Design of Textile Materials." February 6, 2018. https://doi.org/10.5281/zenodo.1167868.

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The historical names of the Uzbek national fabrics are studied in the basis of the linguistic facts that are encountered in the historical and artistic works which are created at various periods, in the article. The Republic of Uzbekistan has particular role with its cultural heritage, unique architectural monuments at the treasury of the world's culture.The history of material culture monuments is closely connected with the history of social and economical development, the history of national culture. Language is a part of national culture. The development of the language is associated wi

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13

Shah, Mitali, and Madhu Sharan. "INDIAN CHINTZ-CRAFT IDENTIFICATION AS AN EXQUISITE HAND-PAINTED TRADITIONAL TEXTILE." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2.2023.590.

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The present social and environmental contexts are very importantly governed by the interplay of crafts, fashion, and sustainability. Their efficient combination contributes to employment generation and the creation of new economic avenues for the country. This is the key focus issue that research studies should attempt to achieve. There is a need to understand “craft”, with a perspective that exerts strength, glory, social and cultural connections. In present times, “Kalamkari” is an extremely popular Indian traditional textile craft in which, patterns are drawn with bamboo sticks called “kala

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14

Pasquali, Jacopo. "D'Ébla á Ougarit: Les marchands d'Oura et les tissus bariolés." ISIMU 12 (February 10, 2016). http://dx.doi.org/10.15366/isimu2009.11-12.008.

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Dans les textes administratifs d’Ébla du milieu du IIIème millénaire av.-J.C. on trouve parfois des tissus bariolés en laine qualifiés comme ù-ra (ki). À mon avis il s’agit d’un toponyme indiquant le lieu d’origine ou d’importation des vêtements. On peut identifier ce toponyme avec le nome de la ville d’Oura en Cilicie bien connue pendant l’époque du Bronze Récent. Ses marchands en effet étaient célèbres grâce à des tissus en laine colorés.Mots clef: Ébla, langue éblaïte, IIIème millénaire, Syria, tissus, rituels, tissus bariolés, dieux des Enfers, Ougarit, Oura, Cilicie, toponymie, Bronze Réc

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15

Andrews, Zachary, Meghan Prusinowski, Evie Nguyen, Cedric Neumann, and Tatiana Trejos. "Assessing physical fit examinations of stabbed and torn textiles through a large dataset of casework‐like items and interlaboratory studies." Journal of Forensic Sciences, December 29, 2023. http://dx.doi.org/10.1111/1556-4029.15452.

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AbstractSeveral organizations have outlined the need for standardized methods for conducting physical fit comparisons. This study answers this call by developing and evaluating a systematic and transparent approach for examining, documenting, and interpreting textile physical fits, using qualitative feature descriptors and a quantitative metric (Edge Similarity Score, ESS) for the physical fit examination of textile materials. Here, the results from 1027 textile physical fit comparisons are reported. This includes the evaluation of inter and intraanalyst variation when using this method for ha

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