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Retail design: Contaminations between commerce and culture
Published in Gianni Montagna, Cristina Carvalho, Textiles, Identity and Innovation: In Touch, 2020
According to Rico (2006), there are currently pressures of commercial methods and techniques of consumption on culture. However, since the genesis, several conceptual and technical changes have taken place, resulting from social, cultural, technological and economic contaminations and transformations, among others. With regard to contamination occurring at the level of the textile product, both commercially and culturally, care is taken, such as the preservation and protection of the products. Considered a very old art, weaving and ornamentation of fabrics is very difficult to be preserved, due to the materials used. Since textiles are very delicate materials and their preservation and conservation requires some care, museums and cultural spaces follow very strict standards for the maintenance of existing specimens. According to Hernández (2008) the textiles should be kept at 18 ºC temperature and between 45 and 60% humidity since it has inverted effects on the textile material (dilate or contract). That is, because of the twisting of the fibers, the fabrics shrink as the fibers swell and leave. Silk and wool are more sensitive to moisture damage than cotton and linen. Also, the painted fabrics are very sensitive to changes in humidity and, therefore, special care should be taken (Hernández, 2008).
Textiles
Published in Jill L. Baker, Technology of the Ancient Near East, 2018
Vegetable fibers, such as flax, have been utilized as textiles since at least 12,000 bce. Artifactual evidence has been found at Natufian period sites in present-day Israel and in Egypt as early as 5000 bce (Janssen 1995:383). Flax, linum usitatissium, is a hardy annual herb that grows best in well-watered fertile soil, such as the soil found in Egypt and the Peloponnese. Although linum was grown in Egypt, it was not native and was probably brought to Egypt from the Levant (Vogelsang-Eastwood 2000:269). It is thought that two types of flax were grown in Predynastic Egypt: Linum angustifolium and Linum usitatissimum. Each grows to about 1 meter high and produces flowers (Vogelsang-Eastwood 2000:269–270). Linum Usitatissimum was used most commonly, and was depicted in Egyptian artwork and paintings. Linen is made from the bast fiber, or flax.
Design and Graphical Communication
Published in Roger Timings, Basic Manufacturing, 2006
Natural fibres come from plants and animals. Cotton fibres come from the seed heads of the cotton plant. Linen fibres come from the stem of the flax plant. These are both cellulosic fibres. Wool fibres are animal hairs usually from sheep, but also from goats, camels, rabbits and llamas. Silk fibres are made by a caterpillar known as a silk worm. The silk worm uses the fibres to make a cocoon in which to change from a caterpillar into a moth. Wool and silk fibres are protein fibres.
Natural dyeing application of used coffee grounds as a potential resource
Published in International Journal of Fashion Design, Technology and Education, 2019
The five different woven fabric samples of one yard each (cotton, linen, silk, rayon, and polyester fabrics) were purchased from Test Fabric, Inc. (West Pittston, PA, USA). As shown in Table 2, the following description summarises the general chemical structures of the five fibres: (a) cotton, (b) flax (linen), (c) rayon, (d) silk, and (e) polyester (Collier, Bide, & Tortora, 2008; Kadolph, 2009). Based on the dyeing procedures adjusted from those used in previous research (Lee, 2007), these fabrics were dyed with a fixed dye bath ratio of 1:50 at 80°C for approximately 30 minutes. A post-mordanting stage was then performed at 40°C for approximately 60 min with 5 wt.%, on the weight of fabric, (o.w.f.) of each mordant (alum, copper, and iron) and non-mordant (control) in each dyeing bath, according to a certain mordant concentration (Li et al., 2016); therefore, a total of four different dyeing baths were used in this study. The dyed fabrics in each bath were soaped and rinsed in tap water and then allowed to air dry thoroughly for 24 hours. The dyeing curve of this study is shown in Figure 1.
Thread-by-thread tear mendings in conservation of canvas paintings: a problem of reproducibility in bonding qualities
Published in The Journal of Adhesion, 2021
Hannah Flock, Stefan Diebels, Elisabeth Jägers, Wulff Possart
Textile canvas supports for paintings are produced from different natural and synthetic fibres. The most common is flax/linen as a natural bast fibre, especially in historic canvas paintings. Main component of flax bast fibres is cellulose as a polysaccharide. In general, cellulose fibres consist of bundled fibrils, which consist of microfibrils themselves.[1] Due to this complex, multilayered structure several internal voids emerge, which are accessible for e.g. water vapour molecules that absorb only within the amorphous fibre sectors (crystalline sectors are not capable to absorb water).[2–3] Therefore, the material has hygroscopic properties.