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Journal articles on the topic 'Weaving Patterns'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

UĞURLU, Servet Senem. "THE LINE AND ICONOGRAPHY IN THE TRADITIONAL ANATOLIAN WEAVINGS." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 2 (August 15, 2021): 255–75. http://dx.doi.org/10.46291/zfwt/130213.

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The traditional examples that continue and develop the process in Anatolian weaving are numerous for those who know how to make use of it. In 2013, during the archaeological excavations at Çatalhöyük, it was discovered in the BC. 7000 parts of linen weaving dated to were found. Due to its biological structure, humans have benefited from weaving to protect themselves from adverse weather conditions and to spend their lives more comfortably. Weavings created for natural needs are coloured to influence other people in the society and decorated with various methods. Ornamental elements start with a dot, continue with a line, and finish with colour. Weavings vary according to the cultural values conditions of the society and geographical position. Anatolian people used the line and the motifs they made by making use of the line in the decoration of their weavings. Line is a means of expression that has been used from the earliest periods of human history to the present day. One of the most important values in the cultural, artistic and sociological life of a person is the line. They have visualized pictures of weaving, which is considered a sacred profession, on many surfaces. Line has always been used as a basic element in traditional Anatolian weavings. Weavers transferred the different uses of the line to their weavings. With the arrival of the Yörüks and Turkmens from the Oghuz tribes to Anatolia, Anatolia was enriched with nomadic society weavings. There are linear elements on the basis of ornamentation of nomadic Turkish weavings. Yörük and Turkmen weavers who settled in Anatolia continued the weaving process in Anatolia until recently. In weaving patterns, they generally used line and line-based motifs. In this study; information will be given about line, iconography of line and textural surfaces created by line in Anatolian traditional weavings. Keywords: Anatolian, Weaving, Line, Iconography, Traditional.
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2

Louise Gould, S. "The Tellem Weavers Meet the Graphing Calculator." Mathematics Teacher 99, no. 4 (November 2005): 230–36. http://dx.doi.org/10.5951/mt.99.4.0230.

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A hands-on activity that explores weaving patterns of the Tellem people. Students can look for patterns and discuss similarities and differences between their classmates' patterns. A graphing calculator program that simulates the weaving pattern is included.
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KILIÇ KARATAY, Semra. "KILIM WEAVING SAMPLES REGISTERED TO THE NIGDE MUSEUM." IEDSR Association 6, no. 15 (September 20, 2021): 113–35. http://dx.doi.org/10.46872/pj.334.

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Weaving is an example of art produced at the end of human need. The samples produced because they were needed first turned into art. It is not known exactly whether the art of weaving started as a carpet or as examples of plain weaving, rug weaving. Throughout history, carpet and rug weaving has developed in connection with each other. Rug weaving samples, which have an important place in Turkish culture, are accepted as source information about the period they were woven and the geography they were woven. Looking at kilim weaving examples, patterns are given with threads of different colors and different weaving techniques are used. Unlike carpet weaving, there is no pile height in weaving. The motifs used in the patterns are generally traditional motifs. Geometric motifs are used more frequently. In rug weaving, unlike carpet weaving, the threads are mostly twisted. Rug weaving samples found in the inventory records in the Niğde museum show that the rug weaving tradition is as old as carpet weaving in Niğde and its surroundings. The aim of this study is to share the information obtained as a written source on the general condition, pattern and color composition properties of the weaving samples in the exhibition hall and warehouse in the museum.
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Minarsih, Minarsih. "KORELASI ANTARA MOTIF HIAS SONGKET DAN UKIRAN KAYU DI PROPINSI SUMATERA BARAT." Humanus 12, no. 1 (June 28, 2013): 1. http://dx.doi.org/10.24036/jh.v12i1.3098.

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This study aims to reveal the relation between carving and weaving products designed by west Sumatran craftsmen. The observation is made based on the motives used in the two products, including structure, position, repetition, and color arrangement of the patterns. The findings reveal that 42 – 65 % carving motives have the same naming in Pandai Sikat weave, while small number of old carving pattern appear in new design. The same motives were also found in weaving products of Kubang (33%) and Silungkang (25%).Based on this finding, it can be concluded that some weaving motives influence the carving motives and vice versa. Key words: handicraft, design, motive, carving, weaving
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Li, Bin, and Qiang Li. "Study on the Relation between the Linked-Pearl Pattern and Weaving Technology in Ancient China." Advanced Materials Research 332-334 (September 2011): 2093–98. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.2093.

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The linked-pearl pattern on fabric is a key to study on the transformation of the technique from weaving warp-faced patterns to weft-faced patterns in ancient China. However, the previous studies on the linked-pearl pattern on fabric were not very clear, and led to much misunderstanding. Some researchers believed that Chinese weavers did not master the technique of weft-faced patterns until Persian merchants introduced the brocades with a pattern featuring stringed ball into China along the Silk Road. Based on the studies on historical materials and archeological discoveries of the linked-pearl pattern on fabric, we hold that there are positive connections among the linked-pearl pattern, the technique of weaving weft-faced patterns and the draw loom. The dissemination of the linked-pearl pattern prompted the development of pattern design and the wide application of weft-faced pattern on fabric, even the invention of the draw loom which accelerated the development of textile technology in ancient China.
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Yu, Xin Qiu, Li Xia Fan, Hong Xia Zhang, Yu Xian Chen, Pei Lin Yang, and Zhe Feng Wang. "Accessories’ Matching Design Study and Development." Advanced Materials Research 605-607 (December 2012): 304–7. http://dx.doi.org/10.4028/www.scientific.net/amr.605-607.304.

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The style of romanticism is treated as the main garment and the independent development of apparel fabrics as the point cut. The matching design of fashion accessories combined with the patterns, colors, styles, materials, functions and so on. The main manufacturing techniques were the pattern weaving technique, heat transfer digital printing method and weaving and printing combined multiple processing comprehensive approaches. Meanwhile, a set of spring and summer bags and hats were designed, achieved good application effects.
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7

Hay, Margaret Jean, Peggy Stoltz Gilfoy, and Karl-Ferdinand Schaedler. "Patterns of Life: West African Strip-Weaving Traditions." International Journal of African Historical Studies 22, no. 1 (1989): 137. http://dx.doi.org/10.2307/219241.

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8

Hoffman, Rachel, and Peggy Stoltz Gilfoy. "Patterns of Life: West African Strip-Weaving Traditions." African Arts 21, no. 2 (February 1988): 15. http://dx.doi.org/10.2307/3336522.

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9

Bolte, Linda A. "Weaving Plaids Based on (a ± b)2." Mathematics Teaching in the Middle School 12, no. 8 (April 2007): 430–34. http://dx.doi.org/10.5951/mtms.12.8.0430.

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The mathematical basis of weaving designs can be explored by middle-grades students from a variety of traditional perspectives—symmetry, reflections, number patterns, and ratios. However, one unique interaction between weaving pleasing designs and mathematics that was explored in the 1940s and 1950s by Ada K. Dietz offers students a different perspective on the interactions between mathematics and the art of weaving.
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10

Ningsih, Yosepin Sri. "REVITALISATION OF SUMBA WOVEN INTO FASHION PRODUCT FOR URBAN PEOPLE AS A TARGET MARKET." Serat Rupa Journal of Design 3, no. 1 (January 25, 2019): 61–76. http://dx.doi.org/10.28932/srjd.v3i1.1056.

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One of the areas that has special strength in terms of textile craft is NTT (East Nusa Tenggara) province, which is known for its unique weaving. The peculiarities of NTT woven make several fields such as tourism and political policy subsequently have an influence on the existence of NTT woven. These influences include changes in the function of weaving from adati to economical products, which then have an impact on material changes and methods of using weaving. The material used today is more modern by using threads that can be purchased in the market from imports from other places, while the used of weaving in ritual way has now been cut into ready-made clothes with a more modern form that sometimes produced leftover materials. Departing from these conditions, researchers develop fashion products as revitalization of NTT woven in order to fulfill the consumer needs. The NTT woven that chosen in this case is Sumba woven, because the patterns found in Sumba woven have a higher level of complexity than other NTT woven such as large living forms that are different from woven from other islands with more geometric nuances. The shape and composition of the large patterns and forms associated with myths and living things have been an obstacle for designers in creating cloth from these materials.By using the descriptive qualitative method, minimalism pattern, which is popularized, by Rei Kawakubo and the market research approach then researchers create a fashion concept by optimizing the use of cloth. Hence, researchers can produce fashion product without leaving a weaving parts that has no potential to be processed into other products as well as answering the needs of the market whose has a high appreciation of the weaving process.
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11

Filipović, Luna. "Weaving the web of meaning." Languages in Contrast 6, no. 1 (June 23, 2006): 151–75. http://dx.doi.org/10.1075/lic.6.1.06fil.

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Talmy’s (1985) typology proposes a classification of languages on the basis of their lexicalization patterns. All languages exhibit the tendency to code either manner or path of motion in the verb, and thus are divided accordingly into two main typological groups. The fact that languages code components of a motion event differently is therefore not a novelty, and it is only the point of departure in this paper. The aim here is to account for why these differences in lexicalization may occur. Many, if not all, languages make use of both patterns in expressions of motion events, and the reasons why one is more prominent and favoured than the other and on what occasions is the subject of the present discussion. Extensive data from Serbian/Croatian is presented in a contrastive setting in order to highlight the claim that the typology is best seen as a cline rather than a dichotomy. Two original hypotheses that explain the use of patterns in Serbian/Croatian are put forward, with the possibility to apply them further in analyses of other languages. It will be observed that the mechanism of lexicalization can be explained only after all the levels where meaning is conveyed in a language, namely morphology, syntax and semantics, are subjected to an analysis in a unifying fashion. Moreover, a network of the crucial spatial and temporal parameters is suggested here in order to distinguish event types and determine the language-specific means that reflect those event differences. Particular attention has been paid to a phase in motion events termed moment-of-change, which is notably absent from the relevant discussions in the literature. Another important contribution is the emphasis on the importance of deixis in the lexicalization of motion events, which has not been given the attention it deserves.
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An, Weizhu, Sudha Dhingra, and Feng Zhao. "Comparison Between Atlas in Xinjiang of China and Patola in Gujarat of India." Asian Social Science 16, no. 2 (January 31, 2020): 45. http://dx.doi.org/10.5539/ass.v16n2p45.

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Ikat is an ancient technique by which colored patterns are formed by tying and dyeing threads before they are woven. Ikat is an ancient resist dyeing technique in which the yarns are tied and dyed according to a specific pattern prior to weaving. This paper focuses on Atlas and Patola, the most famous ikat fabrics in China and India respectively as the research objects. The effort is to provide comparative analysis from the aspects of weaving technology, pattern style, composition characteristics and colors, based on literature and images. Although they are similar in production process, they have very different characteristics due to cultural background, religion, environment and aesthetic tastes of consumers and weavers. Both textiles showcase the local plants, flowers and colour preferences. Islam influences Atlas textiles and hence without animal and figurative pattern. Patola has different patterns for consumers from different religious following. Atlas and Patola are the fabrics of inheritance and represent two different regions and cultures.
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13

Febriani, Thesa, and Agusti Efi. "Tenunan songket balai panjang (studi kasus di sentra tenunan balai panjang kel. Balai panjang kec. Payakumbuh selatan)." Indonesian Journal of Education Research 1, no. 1 (January 9, 2020): 45–50. http://dx.doi.org/10.24036/edunesia.v1i1.8.

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Abstrak Tenunan Balai Panjang adalah salah satu tenunan yang ada di Sumatra Barat, yang merupakan pengembangan dari tenunan songket. Namun belum banyak Masyarakat yang mengetahuinya. Maka tujuan penelitian ini adalah untuk melihat proses menenun, bentuk motif dan tata letak motif pada tenunan Balai Panjang di Kelurahan Balai Panjang Kecamatan Payakumbuh Selatan. Penelitian ini menggunakan metode kualitatif. Jenis data berupa data primer dan sekunder. Pengumpulan data menggunakan teknik observasi, wawancara dan dokumentasi. Data penelitian dikumpulkan dari sejumlah informan yang terdiri dari Disperindag Kota Payakumbuh, pimpinan, sekertaris, bendahara dan pengerajin. Selanjutnya data dikaji dan dianalisa dengan langkah-langkah reduksi data, penyajian data dan penarikan kesimpulan. Keabsaha data dilakukan dengan perpanjangan pengamatan, meningkatkan ketekunan, dan triangulasi. Hasil penelitian yaitu 1) Proses meenenun meliputi : (a) proses persiapan (b) proses menenun (c) finishing. 2). Bentuk Motif yang digunakan pada Sentra Tenunan Balai Panjang terinspirasi dari: (1) bentuk alam (tumbuh-tumbuhan, binatang, buah-buahan) seperti : motif tampuak manggih, motif bungo rayo, dan motif pucuak rabuang, motif itiak tabang, motif itiak pulang patang dan sapik kapitiang. (2) bentuk geometris: motif tenun Bintang Kejora, motif bintang jo kumbuah, motif Lakuak Kumbuh dan motif gonjong limo. Bentuk motif tenunan tersebut sudah distilasikan sedemikian rupa sehingga membentuk motif tenunan. 3). Pola Hias yang sering digunakan untuk tenunan pada Sentra Tenunan Balai Panjang adalah pola hias pinggiran, pola hias mengisi bidang, dan pola hias serak. Penepatan motif disesuaikan dengan kegunaan produk. Kata Kunci: Tenun, Songket, Balai Panjang. Abstract Balai Panjang weave is one of the weavings in West Sumatra, which is the development of songket weavings. But not many people know about it. So the purpose of this study was to see the weaving process, the shape of the motifs and the layout of the motifs in Balai Panjang weaving in Balai Panjang District, Payakumbuh Selatan District. This study uses a qualitative method. The types of data are primary and secondary data. Data collection uses observation, interview, and documentation techniques. The research data was collected from a number of informants consisting of the Department of Industry and Trade Payakumbuh, leaders, secretaries, treasurers, and craftsmen. Furthermore, the data is reviewed and analyzed by the steps of data reduction, data presentation, and drawing conclusions. The validity of the data is done by extending the observation, increasing perseverance, and triangulation. The results of the study are 1) The weaving process includes: (a) the preparation process (b) the weaving process (c) finishing. 2). Forms of Motif used in Balai Panjang Woven Center are inspired by (1) natural forms (plants, animals, fruits) such as advanced tiapak motifs, bungo rayo motifs, and motifs of rabuang pucuak, motifs of itiak tabang, motifs of itiak return kapitiang stems and sapik. (2) geometric shapes: Bintang Kejora woven motifs, jo kumbuah star motifs, Lakuak Kumbuh motifs, and gonjong limo motifs. The shape of the woven motif has been distilled in such a way that it forms a woven motif. 3). Ornamental patterns that are often used for weaving at Balai Panjang Woven Centers are fringe decorative patterns, decorative patterns filling fields, and hoarse decorative patterns. The acceleration of the motif is adjusted to the use of the product. Keywords: Tenun, Songket, Balai Panjang.
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14

Khasan, Setiaji, Kardoyo, and Farid Maghfuri Nofan. "Building Synergism through Cluster Strategy in Developing the Weaving Industry." E3S Web of Conferences 73 (2018): 10009. http://dx.doi.org/10.1051/e3sconf/20187310009.

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Industrial sector as a main drive of the Indonesian economy has a challenge to build a synergy between industrial business actors. Tnis study aims to determine tne pattern of relationsnip in tne weaving industry; to identify the cluster strategies in the weaving industry; to analyze the supporting and obstructing factors of the cluster strategy. This study uses a qualitative approach, i.e. case study type. Data in this study were collected from industries of Troso weaving. The results show that there are three patterns of relationship: cooperative, supportive and non-supportive between small, medium and large industries. Cluster strategies in the development of weaving industry are applied through inter-industry cooperation, availability of raw material input and supporting materials which indicate that the cluster has shown efficiency and synergy in production process as the majority of labor input comes from within the cluster. Local government supports, local community wisdom, locations, availability of skilled workforce and technologies become the factors that support the successful cluster strategies. While the capital, management, competition, marketing, and industrial relations are still great constraints.
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Harlizius-Klück, Ellen. "Weaving as Binary Art and the Algebra of Patterns." TEXTILE 15, no. 2 (April 3, 2017): 176–97. http://dx.doi.org/10.1080/14759756.2017.1298239.

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Pach, J�nos, Richard Pollack, and Emo Welzl. "Weaving patterns of lines and line segments in space." Algorithmica 9, no. 6 (June 1993): 561–71. http://dx.doi.org/10.1007/bf01190155.

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17

Hartanti, Grace. "Tenun Dan Penerapannya pada Desain Interior sebagai Warisan Budaya yang Memiliki Nilai Jual yang Tinggi." Humaniora 2, no. 1 (April 30, 2011): 572. http://dx.doi.org/10.21512/humaniora.v2i1.3070.

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Weaving is one of the traditional fabric cultural arts of Indonesia produced in various regions across the archipelago (Sumatra, Kalimantan, Bali, Sulawesi, Lombok, Sumbawa, etc.). Weaving has a significance, historical value, and high technique both in terms of colors, patterns, materials and type of yarn used and each region has the characteristics of each. Weaving as one of high cultural heritage (Heritage) is the pride of Indonesia which may reflect national identity. Therefore, weaving both in terms of production engineering, design and the resulting product should be maintained and preserved its existence, and promoted for reuse. One of them in the world of interior design can be used as an aesthetic element to promote local cultural elements (local content) of Indonesia.
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18

Indrawan, Muhammad Isa. "Strengthening Character Education Patterns and Local Wisdom Through Ulos Balige Weaving Learning, North Sumatra." Asian Higher Education Chronicles 1, no. 1 (November 5, 2018): 71–75. http://dx.doi.org/10.9744/ahec.1.1.71-75.

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The high level of technological and information progress has resulted in the decline of people's love for local wisdom so that people do not understand the meaning of the existence of Ulos as a cultural heritage that is rich in the values of life's wisdom. This study aims to analyze the strengthening of character education based on local wisdom through learning Ulos weaving in Balige North Sumatra. The qualitative research analysis unit with this case study approach is that the people in Balige were selected by purposive sampling. Data collection techniques with observation, in-depth interviews, and documentation. Interactive models then analyze data validity by source triangulation. The results showed that through Ulos Balige weaving learning in tutoring can be achieved a balance of the conscience, spiritual, and intellectuality of the community related to the creator through the content of philosophical values in the symbol of Ulos. Ulos weaving learning which is done classically through theory and practice has a positive impact on the formation of the character of the community by the values of local wisdom.
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Eberhard, William G. "Modular patterns in behavioural evolution: webs derived from orbs." Behaviour 155, no. 6 (2018): 531–66. http://dx.doi.org/10.1163/1568539x-00003502.

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Abstract Imperfect knowledge of ancestral behaviour often hampers tracing behavioural evolution. This limitation is reduced in orb weaving spiders, because spider orb web construction behaviour and the cues used by modern orb-weavers are well-studied and highly conserved. Several species in orb-weaving families build non-orb webs that are clearly derived from orbs, allowing transitions from ancestral to modern behaviours to be described with high confidence. Three major patterns of general evolutionary significance were found in 69 phylogenetically independent transitions in 15 groups in 8 families: ancestral traits were often maintained as units; the most frequent of the eight different types of ancestral trait change was transfer of an ancestral behaviour to a new context; and ‘new’ traits that had no clear homology with ancestral traits were also common. Changes occurred in all major stages of orb construction. This may be the most extensive summary of evolutionary transitions in behaviour yet compiled.
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Widiastuti, Theresia, Nanang Rizali, Sapja Anantanyu, and Sugeng Edi Waluyo. "Line and Color Composition in Lurik Cawas Weaving: Idea from Traditional Lurik Patterns." International Research Journal of Management, IT & Social Sciences 4, no. 1 (January 7, 2017): 1. http://dx.doi.org/10.21744/irjmis.v4i1.338.

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Javanese lurik is weaved fabric with striped motives, and it has very simple appearance. In the past, lurik only used two colors, namely: black and white. But, as it develops, some of lurik fabrics use more than two colors, and one of the colors usually still consists of black or white color. After lurik becomes one of the prosper trading commodities, the artisans attempt to make lurik more appealing and varying in term of appearance so that it will be favored by consumers. The objective of this research is to investigate how the artisans can develop lurik patterns to stay appealing. This paper used the qualitative research with the case study strategy and phenomenological approaches. The study aims at understanding the methods employed by artisans in Cawas Klaten in developing lurik patterns. The result of the study show that (1) lurik pattern has been developed by using various alternatives of line composition and color coherence; (2) the idea of development comes from traditional lurik patterns which already existed long time ago; and (3) line and color composition used a minimum of three colors so that it looks like a rainbow, and this kind of lurik pattern becomes the characteristic of modern weaved fabric from Cawas.
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Györy, Georges. "Modelling Complex Non-Rectilinear Textile Structures." International Journal of Humanities and Arts Computing 10, no. 2 (October 2016): 145–78. http://dx.doi.org/10.3366/ijhac.2016.0165.

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Andean weavings show patterns with intersecting warps in the textile's top view. These cannot be represented as a rectangular grid-like structure (rectilinear weave). A systematic description is essential for enabling weavers to document and secure intellectual property rights, and for preserving their rich cultural heritage. We present a linked data structure for modelling non-rectilinear as well as rectilinear weaving patterns, different from both a grid and a topological representation. We have implemented two editors using the same data structure for two classes of users (non-weaver users and weavers of warp-faced textiles). We describe the data structure and compare the operator sets of the two editors to access it. We give a first evaluation of the editors by showing how they can be used to model the complex structures of real-world textiles.
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McLean, Alex, Giovanni Fanfani, and Ellen Harlizius-Klück. "Cyclic Patterns of Movement Across Weaving, Epiplokē and Live Coding." Dancecult 10, no. 1 (November 22, 2018): 5–30. http://dx.doi.org/10.12801/1947-5403.2018.10.01.01.

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Kibria, M. G., and C. A. Tisdell. "Operating capital and productivity patterns in jute weaving in Bangladesh." Journal of Development Economics 18, no. 1 (May 1985): 133–52. http://dx.doi.org/10.1016/0304-3878(85)90011-2.

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Abu Bakar, Ilyani Akmar, Oliver Kramer, S. Bordas, and Timon Rabczuk. "Optimization of elastic properties and weaving patterns of woven composites." Composite Structures 100 (June 2013): 575–91. http://dx.doi.org/10.1016/j.compstruct.2012.12.043.

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Yoo, Hyun-Ah. "Development study of New Weaving Structures by Korean Traditional Patterns - Focus on Tteoksal Patterns -." Journal of the Korea Contents Association 8, no. 12 (December 28, 2008): 190–97. http://dx.doi.org/10.5392/jkca.2008.8.12.190.

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Liu, An Ding, Bin Li, and Yi Ping Qiu. "The Brief Study on the Inscription-Brocade and Weaving Technology of the Han Dynasty." Advanced Materials Research 627 (December 2012): 252–57. http://dx.doi.org/10.4028/www.scientific.net/amr.627.252.

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Inscription-brocade played an important role in the history of textile technology and exerted great influence upon social production of the Han Dynasty in China. Through analyzing the features of the inscription on the brocade and the social reasons for their emergence, we believe there is a close relationship among the inscription and the social custom, psychology and artistic style of the time. In addition, the perfect combination of inscription and patterns on the brocade stood witness to the mighty advance in the silk technology, the weaving machine such as multi-heald and multi-pedal loom, and the technical application for weaving warp-faced patterns.
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Skabardonis, Alexander. "Simulation of Freeway Weaving Areas." Transportation Research Record: Journal of the Transportation Research Board 1802, no. 1 (January 2002): 115–24. http://dx.doi.org/10.3141/1802-14.

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The operation of freeway weaving sections is characterized by intense lane-changing maneuvers and complex vehicle interactions that often create bottlenecks along freeway facilities. The CORSIM microscopic simulation model was applied to simulate the operation of eight realworld weaving sites in California under a wide range of operating conditions. The results indicate that CORSIM with default parameter values underpredicts the speeds in the weaving section by about 19% on average. Numerous simulation runs were made with different values of the model parameters. The following parameters were found to significantly affect the CORSIM results: ( a) car-following sensitivity factor, ( b) lane-changing aggressiveness factor, and ( c) percentage of freeway through vehicles that yield to merging traffic. The calibrated CORSIM model reasonably replicated observed traffic operations at all test sites. The predicted average speeds were within ±5 mph for most test sites. Good agreement between measured and predicted values was obtained for all the combinations of design characteristics and demand patterns.
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Kaplan, Volkan. "Detection of Remote Sensing Warp Tension during Weaving on Plain Twill and Satin Fabric." Fibres and Textiles in Eastern Europe 29, no. 1(145) (February 28, 2021): 35–39. http://dx.doi.org/10.5604/01.3001.0014.2726.

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Warp tensions were measured while a machine was operating on a woven cotton fabric with three different woven patterns. This study was carried out with image analysis methods using a high speed camera. Three weave pattern types: plain, twill and satin were woven on the same weaving machine, and thus it could be understood how weave pattern differences affect warp tension. Each of these three weaves was woven in three weft densities: 20, 28 and 45 wefts per cm. These fabrics were able to be made on a weaving machine with an automatic dobby. It was aimed to investigate warp tension differences for three basic weave patterns while keeping all machine settings constant. The weave settings of the dobby were changed for plain, twill and satin weaves. Warp tension calculation was based on the warp elasticity theory. Warp elasticises were measured by image processing methods in MATLAB using a high-speed camera. It was aimed to improve upon the new method of warp extension measurement of fabric when the loom is in operation. It was observed that the warp tension in plain fabric was higher than for twill and satin under the same conditions.
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Ngo, Vuong M., Sven Helmer, Nhien-An Le-Khac, and M.-Tahar Kechadi. "Structural textile pattern recognition and processing based on hypergraphs." Information Retrieval Journal 24, no. 2 (January 23, 2021): 137–73. http://dx.doi.org/10.1007/s10791-020-09384-y.

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AbstractThe humanities, like many other areas of society, are currently undergoing major changes in the wake of digital transformation. However, in order to make collection of digitised material in this area easily accessible, we often still lack adequate search functionality. For instance, digital archives for textiles offer keyword search, which is fairly well understood, and arrange their content following a certain taxonomy, but search functionality at the level of thread structure is still missing. To facilitate the clustering and search, we introduce an approach for recognising similar weaving patterns based on their structures for textile archives. We first represent textile structures using hypergraphs and extract multisets of k-neighbourhoods describing weaving patterns from these graphs. Then, the resulting multisets are clustered using various distance measures and various clustering algorithms (K-Means for simplicity and hierarchical agglomerative algorithms for precision). We evaluate the different variants of our approach experimentally, showing that this can be implemented efficiently (meaning it has linear complexity), and demonstrate its quality to query and cluster datasets containing large textile samples. As, to the best of our knowledge, this is the first practical approach for explicitly modelling complex and irregular weaving patterns usable for retrieval, we aim at establishing a solid baseline.
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BÜYÜKBAYRAKTAR, BEFRU R., and GÜLCAN ERCIVAN BATUR. "The comparison of classical weaving and laser technology in denim fabric’s design." Industria Textila 72, no. 04 (September 1, 2021): 418–25. http://dx.doi.org/10.35530/it.072.04.1790.

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Denim fabrics became a preferred product by many people, because of especially being a symbol of comfort. In thisstudy, the aesthetic and physical design of denim fabrics were carried out. It was aimed to compare the surface designsand structural parameters of denim fabrics obtained by weaving and laser technologies. Besides the design steps ofweaving and laser technologies were explained and compared. Twelve denim fabrics having different surface designswere obtained with the intersection of indigo dyed warp and non-dyed weft yarns based on the theme of “contrast” byusing derivatives of twill weave. Besides, these surface patterns were applied to classical denim fabrics by lasertechnology. The surface properties of denim fabrics produced by weaving technology were different for each surfacedesigns because of different floatings. However, weaving is a time-consuming method and the design steps are morecomplicated. On the other hand, surface patterns of fabrics obtained by laser technology were found similar to wovenones and it had advantages as having greater design capacity, being a simpler, faster and eco-friendly method
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Wu, Qiyi. "Interpretation of the Connotation of Weaving and Embroidery of Traditional Clothing of Blue Clothes Zhuang." Lifelong Education 9, no. 6 (September 28, 2020): 78. http://dx.doi.org/10.18282/le.v9i6.1304.

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Zhuang nationality clothing patterns are colorful and rich in connotation, including flowers, plants, trees, insects, fish, birds and animals. Among the numerous patterns and patterns, some widely used totems have different applications in different parts of traditional clothing. From the perspective of the traditional clothes of blue clothes Zhuang nationality, the Southern Zhuang nationality and the northern one live in different areas, so different national aesthetic constructs different embroidery art characteristics. The plain Zhuang embroidery is mostly humble embroidery, and the mountain Zhuang in the northern Guangxi mountain area is mostly skillful embroidery, which are well-made, showing the classic national characteristics. In this paper, through the analysis of the traditional clothing embroidery pattern of blue clothing Zhuang, the cultural connotation and value of related clothing decoration are studied.
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Inwood, Kris, and Phyllis Wagg. "The Survival of Handloom Weaving in Rural Canada Circa 1870." Journal of Economic History 53, no. 2 (June 1993): 346–58. http://dx.doi.org/10.1017/s0022050700012961.

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Handloom weaving with a mixture of wool and cotton yarn was common in late nineteenth-century Canada. The hand technology survived using industrial inputs and part-time female labor whose opportunity cost was relatively low in rural areas. The demand for homespun was income-sensitive and reinforced by the cold Canadian climate. The patterns of weaving by men and women differed, but both produced for the market in addition to home consumption. Cloth constituted a significant share of farm production, especially in low-income areas.
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Liu Xiaojian, Xu Boqun, and Wang Jin. "Rapid Modeling Aiding Techniques for 3D Patterns of Weaving Wicker Products." Journal of Convergence Information Technology 8, no. 10 (May 31, 2013): 767–75. http://dx.doi.org/10.4156/jcit.vol8.issue10.94.

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King, Catherine. "Weaving patterns in performance: dramaturgy and the art of performance interpreting." Scottish Journal of Performance 6, no. 1 (July 14, 2019): 11–29. http://dx.doi.org/10.14439/sjop.2019.0601.02.

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Roy Chowdhury, Soudip, Florian Daniel, and Fabio Casati. "Recommendation and Weaving of Reusable Mashup Model Patterns for Assisted Development." ACM Transactions on Internet Technology 14, no. 2-3 (October 28, 2014): 1–23. http://dx.doi.org/10.1145/2663500.

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Korolkova, Liudmila. "Konstantin Dalmatov, A Collector of Traditional Folk Patterns (Embroidery, Weaving, Lace)." Kunstkamera 11, no. 1 (2021): 197–207. http://dx.doi.org/10.31250/2618-8619-2021-1(11)-197-207.

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Jain, Pranshi. "“CARPET WEAVING TRADITION OF INDIA”." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 40–47. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.907.

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Traditional knowledge is the knowledge base of a particular society or a community which has been generated from one generation to the other over a period of time through the process of learning and sharing. It takes several generations to refine or improve the knowledge base with expertise which they gained through experiences. Ultimately, it becomes the integral part of cultural identity of their community. The art of carpet weaving is one of the traditional knowledges which has represented the continuity of the age- old Indian heritage and also the socio-cultural tradition of weaving communities and thus has given Indian carpets a renowned place in the world. The magnificence of Indian carpet weaving and the intricate patterns that have emerged from it have substantially increased India’s carpet exports and placed it prominently on the international carpet map and thus has made it the largest exporter of handmade carpets in the world. Handloom sector being one of the major sectors which helps the country in maintaining the GDP at present is suffering from high competition to power looms due to the very nature of handmade sector being unorganized and dispersed. Therefore, this paper would give the review of carpet tradition in India, its evolution, its present scenario and thus addressing the need to safeguard the knowledge/ skill related with the craft as it is on the verge of losing its identity.
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Peng, Po, Devi Stuart‐Fox, Szu‐Wei Chen, Eunice J. Tan, Guan‐Lin Kuo, Sean J. Blamires, I‐Min Tso, and Mark A. Elgar. "High contrast yellow mosaic patterns are prey attractants for orb‐weaving spiders." Functional Ecology 34, no. 4 (April 2020): 853–64. http://dx.doi.org/10.1111/1365-2435.13532.

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Khalid, S. N. A., A. E. Ismail, and M. H. Zainulabidin. "Impact Strength of Different Weaving Patterns of Woven Kenaf Reinforced Polyester Composites." IOP Conference Series: Materials Science and Engineering 165 (January 2017): 012011. http://dx.doi.org/10.1088/1757-899x/165/1/012011.

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Chen, Kun, Dan Lu, Zimin Jin, Miao Su, and Jing Jin. "Song Brocade in the Ming and Qing Dynasties." Clothing and Textiles Research Journal 38, no. 4 (June 17, 2020): 285–97. http://dx.doi.org/10.1177/0887302x20932657.

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Song brocade is Chinese traditional brocade that originated in the Song dynasty but flourished in the Ming and Qing dynasties. Its delicate patterns, graceful colors, and exquisite techniques show the unique craftsmanship of ancient China. The fabric structure, pattern, and weaving technique had changed greatly because of the social environment, cultural customs, and other factors during the Ming and Qing dynasties. This article proposed a new series of classification for Song brocade patterns in Ming and Qing dynasties and recurred the fabric weave of Song brocade in Ming and Qing dynasties. Besides, the research provided a concise English-language description of historical background, varieties, and specifications based primarily on Chinese-language research publications.
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Yahyabala qızı Bağıyeva, Nübar. "Creativity of carpet artist Mammadhuseyn Huseynov." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 121–24. http://dx.doi.org/10.36719/2663-4619/66/121-124.

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Azerbaijani carpet weaving as a highly developed field of culture has been formed for many centuries, and our people have come a long way in this field. Our carpet weaving art is further developed with the examples of craftsmanship created by modern carpet artists. Carpet weaving requires all-round talent and hard work. Mammadhuseyn Huseynov is an outstanding artist who preserves the subtleties of carpet art, enriches it even more, and creates colorful national patterns, shades of color, various compositions and plots on the carpet. Each of the works created by the artist is characterized by a rich color scheme, a unique method of processing and artistic expressiveness. He defined his style by creatively continuing his art style, which consisted of a palette of colorful colors, and enriching it with new shades. Mammadhuseyn Huseynov's activities in the fields of research books, painting, carpets and tapestries are always in the spotlight. Key words: Mammadhuseyn Huseynov, fine art, the research carpet art, painting
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Lee, Jin H., Abdelfattah Mohamed Seyam, George Hodge, William Oxenham, and Edward Grant. "Warp Breaks Detection in Jacquard Weaving using MEMS: Effect of Weave on Break Signals." Journal of Engineered Fibers and Fabrics 3, no. 1 (March 2008): 155892500800300. http://dx.doi.org/10.1177/155892500800300104.

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This paper reports a study to detect warp breaks in terms of weave structure using MEMS accelerometer based detection system. The system is briefly described. The output signals of MEMS sensors, which were mounted on harness cords of a Jacquard machine, at the moment of warp yarn break and after the break for a broad range of basic weaves were acquired during weaving. The weaves investigated are commonly used in Jacquard weaving to form patterns. The strength of the MEMS output acceleration signals was analyzed in time domain. The results show that the system is capable of detecting warp yarn breaks for the broad range of weaves studied.
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De Las Peñas, Ma Louise Antonette N., Agnes Garciano, Debbie Marie Verzosa, and Eduard Taganap. "Crystallographic patterns in Philippine indigenous textiles." Journal of Applied Crystallography 51, no. 2 (March 20, 2018): 456–69. http://dx.doi.org/10.1107/s1600576718002182.

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The aim of this study was to analyze a representative sample of Philippine indigenous textiles in order to capture the range of symmetries and color symmetries present. This paper examines the existence of symmetries in finite designs, and classifies the plane-group and frieze-group symmetry types of the repeated patterns in woven textiles. The tendency of a particular symmetry to be more or less common than another can indicate relationships between the symmetries and the weaving technique or the culture that produced them. This paper will also examine designs and patterns with color symmetry found in these textiles. The sample consisted of 588 repeated patterns and finite designs in textiles (389 plane, 166 frieze and 33 finite) culled from well known museums in the Philippines, personal collections of scholars, existing literature on Philippine textiles and field visits.
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Ahmed, Ishtiak, Dezhong Xu, Nagui Rouphail, and Alan Karr. "Lane Change Rates at Freeway Weaving Sites: Trends in HCM6 and from NGSIM Trajectories." Transportation Research Record: Journal of the Transportation Research Board 2673, no. 5 (April 12, 2019): 627–36. http://dx.doi.org/10.1177/0361198119841281.

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Concerns have been raised about the HCM6 weaving method’s lack of sensitivity to weaving segment length. This study explores the trends in HCM6 as they relate to lane change estimates and their impact on the segment speed and level of service (LOS). The study also compares HCM6 estimates of lane changes against empirical data from an NGSIM weaving site. Thus, the objectives of this study are twofold: ( a) critically investigate the effect of weaving length on lane change and associated speed model estimates in HCM6, and ( b) analyze trends in lane changes against congestion levels using detailed NGSIM trajectory data, comparing against HCM6 estimates. For ( a) it was found that the lack of sensitivity to weave length is because of the absence of this parameter in the nonweaving lane change and speed models. For ( b), a comparison of HCM6 lane change rates with NGSIM, US-101 data confirmed that the HCM6 estimates for weaving vehicles are fully consistent with those at the NGSIM site, controlling for density. In contrast, nonweaving lane change estimates in HCM6 did not deliver the expected trends, with more discretionary lane changes predicted as congestion increased. Finally, analysis of lane change patterns at the NGSIM site revealed a tendency for early merging for freeway to ramp traffic and uniform merging for ramp to freeway traffic over the length of the weave. Interestingly, a speed analysis showed that in most cases, a higher frequency of discretionary lane changes yielded lower travel times for drivers executing them.
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Li, Xin Ge, Xue Qin Wang, Jia Lin Li, and Chen Zheng. "Innovation of Creative Lady Wear Based on Origami and Jacquard." Advanced Materials Research 1048 (October 2014): 268–71. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.268.

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This paper presents a research of women clothing style, pattern design, and fabric by developing origami culture and double faced jacquard weaving. Four kinds of clothing styles are researched by folding fabric according some origami concept. Based on the developed folded garment structures, some positioned patterns are studied for modern advanced fashion design purposes. In the technology aspect, jacquard technology is used in this study. Jacquard technology uses double stitching structure which face and back patterns are not the same. The face fabric is colorful with pure silk while the back fabric is composite of twill and eight weft satin pattern with silk and cashmere yarn. The final example presents a combination creation of garment and fabric. The method and design of this type of creation requires a high integration of aesthetic and technical aspects, therefore a high added value would be achieved.
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Chong, Xu, Hong En Zhang, and Nie Tong. "The Tangling Line." Applied Mechanics and Materials 253-255 (December 2012): 27–31. http://dx.doi.org/10.4028/www.scientific.net/amm.253-255.27.

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Use the same architectural language, different expression technique to meet the function of the construction and its own aesthetic. Use braiding, weaving and bifurcation to express the form, patterns and structure. Because the function of the architecture is a fashion museum, so from internal to external fashion tangling lines.
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Saitaer, Xiakeer. "A Study of Uyghur Folk Carpet Pattern." Advanced Materials Research 1048 (October 2014): 290–93. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.290.

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Uyghur carpet is the traditional Uyghur handicraft, it is the fusion of spinning, dyeing, knitting and painting with both practical and artistic value. Its origination dates back to more than 2000 years ago and it has been evolving gradually ever since along with the economic development. In recent years, carpet samples with thousands of years history have been discovered in the ruins of ancient tomb in Niya, Shanpula, Yuli, Zhagunluke, Talimu and Peacock River. Scholarships are amazed at the carpets’ unique patterns, delicate quality and fine colors. These carpets are weaved with patterns of human figure, animal and god bird. These patterns are surrounded by designs of beautiful flower and scenery. Some patterns contain auspicious words. The weaving technique, pattern designs and color scheme not only reflect how ancient Uyghur people think about the world, their appreciation of beauty and value of life, but also demonstrate their nature to pursue, and create aesthetic value and their enjoyment of beauty.
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Chávez Santiago, Janet. "Keynote: Tramando la palabra / Weaving the word." Digital Scholarship in the Humanities 36, Supplement_1 (June 1, 2021): i4—i8. http://dx.doi.org/10.1093/llc/fqaa038.

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Abstract The weft is a thread that is woven among the warp's yarns; these are our paper and pencil in the creation of a rug. Together, warp and weft are the bridge that unites the threads with our past and our present, and we weave the patterns of Mitla s friezes as a form of reading, or of interpreting, and of writing our ancestors, but also as a way to recount our dreams and our experiences. We weave in Zapotec. When we complete a rug, we share it with the world, and although the weave is in Zapotec, it can be interpreted in English, in Spanish, in Mixtec, or in Chatino. Digital media can be seen as a warp on which the speakers of indigenous languages have an opportunity to weave their word and to share it within their own community and beyond. Although in our times digital media and social networks are a practical part of our daily lives and of our interactions with the world, we as speakers of indigenous languages must truly appropriate these spaces, to weave our word well, in order to liberate ourselves from the a denial of the present. This DH2018 opening keynote speech is presented here in both its original Spanish and in the author's English translation
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Mills, D. S., and K. Davenport. "The effect of a neighbouring conspecific versus the use of a mirror for the control of stereotypic weaving behaviour in the stabled horse." Animal Science 74, no. 1 (February 2002): 95–101. http://dx.doi.org/10.1017/s1357729800052255.

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AbstractWeaving behaviour involves the repetitive lateral swaying of the head, neck, forequarters and sometimes hindquarters of the horse and is generally believed to be indicative of poor welfare. The behaviour of six known weavers was recorded three times a day for 5 days in each of three different stable designs. These were a conventional loose-box, a conventional loose-box with a 1 m2 acrylic mirror and a conventional loose-box in which there was a grilled 1 m2 side window separating the resident horse from a non-weaving conspecific in an adjacent stable. Weaving and other stereotypic behaviours were significantly higher in the unmodified stable and during the late afternoon observation period. There was no significant difference in the amount of stereotypic behaviour recorded in the two modified stables. Significant differences in the behaviour patterns and location of horses during the study suggest that activity engaging with either a visual image of a horse or a hay net is associated with a reduction in weaving and other repetitive activities in the stabled horse.
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Sulistiowati and Nurul Komari. "Knowledge Sharing and Self Efficacy Effect on Innovative Behavior of Weaving Crafters." 11th GLOBAL CONFERENCE ON BUSINESS AND SOCIAL SCIENCES 11, no. 1 (December 9, 2020): 61. http://dx.doi.org/10.35609/gcbssproceeding.2020.11(61).

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The development of the weaving industry in Indonesia is an important effort to preserve the nation's culture and improve the economic prosperity of the local community. If weaving is managed well, it will accommodate the workforce and eventually their welfare will increase. Sambas Regency is one of the regions in Indonesia which has traditional woven fabrics. The ability of human resources to always produce innovation is a key factor for a business to be able to survive in conditions of intense competition. To increase the variety of patterns and product diversification needed the ability to innovate from weaving craftsmen. Innovation capability of each individual is different, not all individuals have the talent to innovate. Innovation capability can develop because of knowledge. Knowledge sharing behavior has an important role for innovation. Sharing knowledge is a driver of increased innovation ability (Lin, 2007; Rahab, Sulistyandari, & Sudjono, 2011). Individual confidence that he can carry out their duties is very important to build the ability to innovate. Self-efficacy is believed to influence the choice of tasks, effort, perseverance, excitement, and achievement (Bandura, 2012). Previous research concluded that the effect of self-efficacy on innovation behavior was carried out by Hsiao, Tu, Chang, & Chen (2015). The problem in this research is whether knowledge sharing and self-efficacy affect the innovative behavior of weaving craftsmen? Keywords: innovation, self-efficacy, knowledge sharing
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