La technique du tissage consiste à créer un entrecroisement de fils perpendiculaires entre eux. Pour cela, il est nécessaire d'insérer un fil de trame à travers une nappe de fils de chaîne parallèles. L'étape de formation de la foule, consistant à séparer la nappe de chaîne pour libérer un espace d'insertion, est vecteur d'interactions interfilamentaires et de dommages induits dans la structure filamentaire. Un tel phénomène, rapporté au tissage de renforts de matériaux composites produit des dégradations de structure importantes et une diminution sensible des propriétés mécaniques du produit fini. Dans le contexte de la croissance du marché des matériaux composites haute performance à renforts tissés, il est nécessaire d'améliorer puis de maîtriser le procédé de tissage. Ainsi, pour optimiser le tissage d'étoffes multicouches à haute densité, nous disposons d’une machine Jacquard. Il s'agit d'une technique qui permet un pilotage individuel motorisé des fils de chaîne et qui offre des paramètres de foule particuliers. Le but de ces travaux sont d'étudier ces paramètres d'une part et de définir et analyser leurs effets sur le processus de tissage par ailleurs. Nous utilisons pour ces travaux du polyester multifilamentaire, ainsi qu'un dispositif de tissage particulier adapté au tissage technique multicouches. Nous constatons que le tissage multicouches de forte densité génère de nombreux frottements interfilamentaires qui dégradent les fils en provoquant de la fibrillation. L'observation de l'évolution de ce phénomène selon les différents paramètres Jacquard, permet tout d'abord de mieux le comprendre et le cerner. Elle permet ensuite de déterminer les configurations de tissage optimales pour assurer la qualité du tissage de renforts tissés. / Weaving basic structure is an orthogonally interlaced yarns plane, produced thanks to weft insertion across parallel warp yarns. Shedding is a major step for shed generation by warp yarns separation. Shedding may generate warp yarns interactions and yarn structure degradations because of density. Such a phenomenon becomes major with composite high density woven reinforcement where degradations and final product mechanical properties loss may become considerable. With high performance composites market growth, weaving process needs to be improved.A Jacquard shedding mechanism has been employed for high density multilayer woven fabric weaving optimization, as this technique enables warp yarns individual motorized driving with very particular shedding parameters. In this research, Jacquard shedding parameters have been studied so that their effects on the weaving process may be brought to light, with a specific weaving machine dedicated to multilayer weaving, where polyester multifilament yarns are used.It has been observed that high density multilayer weaving produces friction and many degradations during shedding between filaments because of the fibrillation phenomenon. Fibrillation has been examined and understood thanks to the observation of its evolution according to Jacquard shedding parameters. It has been the basis for optimal weaving parameter configurations which may be used for woven reinforcements composites quality improvement.

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Silk-weaving in Sweden during the 19th century. Textiles and texts - An evaluation of the source material. With the rich material available, 19th century silk-weaving invites to studies on industrialisation processes. The purpose of this licentiate thesis is to present and discuss an empirical material regarding silk production in Sweden in the 19th century, to examine the possibilities and problems of different kinds of materials when used as source materials, and to describe how this material can be systematized and analysed in relation to the perspective of a textile scientific interpretation. The introductory sections of the thesis provide a background to textile research and the subject of textile science. This is followed by an overview of previous research on silk-weaving in Sweden and a historical overview of silk-weaving in Sweden, the Jacquard machine, and the K.A. Almgren Sidenväveri, where large parts of the source material have been preserved. After these overviews, the research material is described and systematized: first the main materials, textiles, machines and other objects, and then the various written sources. By way of conclusion, the empirical material is summarized in a critical discussion where the various groups of materials are evaluated in comparison to one another. A discussion on theory and methodology regarding objects as sources and the use of experience-based knowledge in academic research is developed in connection to the critical discussion. Finally, the potential of the material is demonstrated through a textile example. The presentation is an introduction to the cultural-historical analysis that will follow in the PhD thesis. Here, the empirical material will be analysed through the use of knowledge in handicrafts, which may create new dimensions of silk production in Sweden and the complexity of the industrialisation process.

The procedures taken in designing and constructing the costumes for Western Kentucky University’s production of A Midsummer Night’s Dream, which was presented on November 13-19, 1979, were examined in retrospect to (1) the approach (2) the process and construction and (3) the evaluation. In establishing an approach for the production, considerations presented were title implications, thematic concept, historical periods, character sources, and the director’s notes. Solutions arrived at comprised a style suggestion, design/plot emphasis, color organization, texture contrasts, and line direction. In developing the design process and construction procedures, steps outlined were the preparations prior to designing, the organization prior to construction, the construction period, the dress parades and dress rehearsals. In strengthening the project as a learning experience an evaluation was determined that the costume design for the production was a success in that careful analysis was drawn from the script, communication was constant between designers and director, conscious control was exerted over the design elements, organizational procedure was taken to insure efficiency and the construction work was completed on time. Although deliberation was heeded, weaknesses were found in several individual designs and some color organizations. Still, the design as a whole was successful in that the style was consistent, the mood was appropriate and the ensemble was apparent.

Cette recherche traite de trois figures, la grille orthogonale, la trame tissée et le réseau aléatoire. Tout en étant constituées de lignes, ces figures caractériseraient des pratiques plastiques et approches théoriques diverses. Chacune constituerait un modèle conceptuel, un paradigme pour l’art et pour l’architecture. La grille orthogonale, modèle du strié, serait à la fois division spatiale, mode d’assemblage, matière immatérielle, figure géométrique flexible et universelle, symbole de la modernité et de l’anti-modernité, structure rythmique, trace de rationalité, structure langagière, écriture du discontinu et signe de l’universel. La trame tissée tirerait sa texture de logiques mathématiques. Cette dialectique entre structure / ornement se retrouverait dans la peinture. Le tissage serait un modèle d’hybridation et d’unicité. Les entrelacs mouvants représenteraient des chemins initiatiques et serviraient de modèle pour l’architecture tout comme le tissage dans divers procédés. La trame souple permettrait des déformations, des inflexions et des plis. Modèle relationnel, omniprésent dans l’univers et la philosophie, le réseau aléatoire signifierait le nomadisme. Il tracerait sur des cartes cette vision circulatoire du monde. Labyrinthe, il représenterait l’imaginaire. Diagramme, il ferait émerger par ses mises en relations, du sens en art Il serait aussi un modèle d’interactions et d’intersubjectivité. Les artistes simuleraient les réseaux chaotiques de la nature, pour générer des formes réticulaires. Le réseau, modèle des bifurcations situationnistes et ludiques, serait également celui des flux en architecture. / This research deals with three figures, the orthogonal grid, the woven wefts and the random network. While consisting of lines, these figures characterize plastics practices and various theoretical approaches. Each would be a conceptual model, a paradigm in art and in architecture. The orthogonal grid, pattern of striated, would be both spatial division, assembly mode, immaterial matter, flexible and universal geometric figure, symbol of modernity and antimodernity, rhythmic structure, trace of rationality, language structure, writing the discontinuous and sign of the universal. The woven weft would draw its texture from mathematical logic. This dialectic between structure / ornament would be present in painting. Weaving would be a model of hybridization and uniqueness. Intertwining would represent initiatory paths and serve as a model for architecture as well as weaving in various processes. The flexible weft would allow deformations, inflections and folds. Relational model, omnipresent in the universe and philosophy, random network would mean nomadism. It would trace on maps that circulatory worldview. Maze, it would represent the imagination. Diagram, by its connections, he would reveal meaning in art. It would be also a model of interactions and intersubjectivity. Artists would simulate the chaotic network of nature to generate lattice forms. The network model of Situationists and fun bifurcations, would also be flow in architecture.

Made available in DSpace on 2016-08-10T10:36:38Z (GMT). No. of bitstreams: 1 Lucany Silva Bueno.pdf: 1019918 bytes, checksum: 4177f5a5d7038a6cde1d0fb754184fc0 (MD5) Previous issue date: 2005-08-09 / This dissertation is a study of the traditional techniques used by the city of Hidrolandia s weavers and embroiderers. It reveals aspects of culture, identity and cultural inheritance, approaching the relationship between materiality and immateriality of technical know-how. It also presents a brief survey on the origins of weaving, its myths, the female presence, the necessary instruments and the manual weaving as well in Brasil, Goiás state and the city of Hidrolandia. In Hidrolandia, specifically, this study approaches the kow-how involved in the weaving process beginnig with the acquisition of the raw material cotton and how it is changed into a finished product ready for consumption. It presents and analises the gathering of the weavers which main goal is to value and show the several ways to work the cotton and the productive chain that involves the know-how of weavers. / Essa dissertação é um estudo das técnicas tradicionais utilizadas pelas fiandeiras e tecedeiras de Hidrolândia. Aborda aspectos da cultura, da identidade e do patrimônio cultural, discutindo a relação entre a materialidade e a imaterialidade do saber fazer técnico. Apresenta também um breve levantamento sobre as origens da tecelagem em geral, seus mitos, a presença feminina, os instrumentos utilizados assim como a tecelagem manual no Brasil, no Estado de Goiás e em Hidrolândia. Em Hidrolândia, especificamente, aborda-se o fazer e o saber que envolve a tecelagem, começando pela forma de aquisição da matéria prima, o algodão, e de como ele é transformado em produto acabado para consumo. Apresenta e analisa o mutirão das fiandeiras cujo objetivo é valorizar e mostrar as formas de trabalhar o algodão, bem como a cadeia operatória que envolve o fazer e o saber das fiandeiras e tecedeiras.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-27T14:39:07Z No. of bitstreams: 1 Amanda Motta Castro.pdf: 9045882 bytes, checksum: 8d9a53fc8ceae61152eaf994cd436bdc (MD5) / Made available in DSpace on 2015-05-27T14:39:07Z (GMT). No. of bitstreams: 1 Amanda Motta Castro.pdf: 9045882 bytes, checksum: 8d9a53fc8ceae61152eaf994cd436bdc (MD5) Previous issue date: 2015-01-09 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A Tese analisa como ocorre o processo pedagógico de ensinar e aprender da tecelagem manual realizada por mulheres no município de Resende Costa, estado de Minas Gerais/Brasil. A metodologia da investigação teve como base a pesquisa participante, realizada por meio de entrevistas semiestruturadas e observação participante. Foram realizadas duas imersões na localidade nos anos 2011 e 2012, sempre nos meses de julho. A análise dos dados foi embasada na hermenêutica feminista e na Educação Popular. Entre os resultados encontrados, observa-se que o processo de produção artesanal compreende uma série de técnicas e conhecimento automatizado e invisibilizado e que, por ser um trabalho basicamente feminino, a complexidade percebida pelo olhar de quem pesquisa parece desfazer-se na vida das artesãs, dando lugar ao invisível. Este estudo conclui ainda que um dos processos mais ricos na formação das tecelãs acontece por meio da necessidade e do desejo de partilha: o repasso. Estabelecemos esse conceito como sendo um método singular na ação singular de manter a tradição da tecelagem numa corrente viva de repassar o que as artesãs mais experientes possuem e repassam a outras mulheres que elas escolhem serem as novas detentoras das técnicas do tecer. / The dissertation analyses how the pedagogical process of teaching and learning manual weaving occurs among women in the city of Resende Costa, Minas Gerais, Brazil. The methodology of investigation was based on the participant research done through semi-structured interviews and participant observation. There were two immersions in that location in the years of 2011 and 2012, both in the month of July. The data analisys was based on Feminist hermeneutics and Popular Education. Among the results, it was observed that the process of artisanal production comprehends a series of techniques and knowledge automatized and invisibilized for basically being a female production, the complexity perceived by the one of who researches seems to disappear in the lives of the artisans, giving place to the invisible. This study concluded also, that one of the richest processes in the formation of the weavers takes place through the necessity and desire of sharing: the passing forward. A concept which we established as being a singular method in the singular action of keeping the tradion of weaving in a living flood of passing forward what the most experient artisans have and pass forward to other women who they chose to be the new owners of the techniques of weaving.

During this project it was investigated how the newly developed piezoelectric PVDF bicomponent fibre behaved when integrated in different weave constructions. The possibility to integrate conductive yarns as outer electrode was studied in order to see if it was possible to create a fully textile piezoelectric sensors. The piezoelectric properties of the bicomponent fibre is given by the sheath material, which is a polymeric material known as poly(vinylidene fluoride) (PVDF). Today only piezoelectric film made by PVDF is commercially available, but with a flexible PVDF bicomponent fibre it improves the possibility to integrate piezoelectric material into a textile construction. In this study the PVDF bicomponent fibre was integrated in the warp direction into weave constructions, such as plain weave, twill and weft rib. All the woven bands included 60 PVDF bicomponent yarns, with 24 filaments in each bundle and the average width of the bands produced was 30 mm. Different conductive materials and fibres, acting as outer electrode, were coated or integrated together with the PVDF fibre and the behaviour of the PVDF fibres was analysed. All the woven samples went through corona poling with a voltage of 7 kV in 70 ⁰C for 3 min. The weave construction that gave highest piezoelectric output signal was twill with weft that has low tex. The twill construction gave a range amplitude of 1.5- 3.3 V when subjected to a dynamic strain of about 0.25% at 4 Hz. It was shown that different conductive materials influenced the PVDF fibre in different ways, due to the resistance of the material. It was also shown that it was possible to integrate piezoelectric bicomponent fibre into a textile construction and that a fully textile piezoelectric sensor could be produced by using conductive yarns as outer electrode. / Program: Masterutbildning i textilteknik,

Denna rapport beskriver ett examensarbete där optiska fibrer av plast integrerades i varpled i en väv. Syftet med examensarbetet var att undersöka om det är möjligt att industriellt producera ljusemitterande vävar med optiska fibrer. Arbetet delades upp i olika delar, både teoretiska och praktiska. Den teoretiska delen innebar informationssökning inom olika medier, såsom vetenskapliga artiklar och intervjuer med insatta människor inom de berörda områdena. Den praktiska delen i examensarbetet bestod av flera olika moment. Först utfördes en provvävning i en handvävstol, för att finna en lämplig bindning och lära känna materialen. Därefter konstruerades en metod för att testa olika slipmaterial att slipa den optiska fibern med, och utifrån resultaten valdes två slipmaterial ut. Sedan sattes en väv med optiska fibrer upp i en vävmaskin och ett flertal provvävar vävdes. I ett optiklaboratorium skedde sedan mätningar på provvävarnas ljusemittering.Resultatet av mätningarna visade att de optiska fibrerna inte klarade av krökningarna i väven. För mycket ljus läckte ut i krökningarna så väven lyste inte mer än 50 cm. Slutsatsen är att det är fullt möjligt att väva med optisk fiber i varpled, men en bindning där de optiska fibrerna ligger rakt i väven måste konstrueras. In this bachelor thesis has plastic optical fibres been integrated in the warp of a weave. The purpose of the thesis was to make a research if it is possible to produce light emitting weaves with optical fibres in an industrial production. The thesis was divided into several parts, both theoretical and practical. The theoretical part involved taking part of different types of information, such as scientific articles and interviews with knowledgeable people within the related areas.The practical part in this thesis was composed of several different phases. A test weave in a handloom was first performed to find out which weave to use and to understand the materials behaviour. Then a method for testing different materials to grind the optical fibre with was constructed, and out of the results two materials were chosen. After that, a warp with optical fibres was placed into a loom and several prototypes were woven. In an optic laboratory were measurements made on the prototypes’ light emitting ability. The results of the measurements showed that the optical fibres did not cope with the bends in the weave. Too much light emitted out of the bends so the weave only emitted light for 50 cm. The conclusion is that it is possible to weave with optical fibres in the warp, but a new weave where the optical fibres lie straight in the fabric must be constructed. / Program: Textilingenjörsutbildningen

In the collections of Uppsala university, cared for by the university Museum Gustavianum, is the collection of finds from the Valsgärde cemetery, located 4 km north of Uppsala. The cemetery contained boat graves, chamber graves, cremation graves and other finds. Among the boat graves, dating from around c 600–c 1000 AD, some includes textile finds. The primary source material for this study are the tablet woven bands found in three of the Viking age boat graves. I first came across these tablet woven borders in 2014 when writing an early stage thesis in Textile history (Textilvetenskap), a subject taught at Uppsala university at the department of Art History. This article is based on the research I carried out then and have since continued with. The research focuses on the weaving techniques and materials used in the bands. An attempt to work with a theoretical framework based in crafts research and crafts as a concept and idea – instead of just being a method for understanding the production process from a technical perspective – is also made. The bands are brocaded with metal thread, similar to the Birka bands. However, in the Valsgärde bands a spun thread is used in all bands but one. What makes the bands from Valsgärde particularly interesting are the two different weaving techniques present.  Some of the bands are patterned with the quite common technique “lifted warp threads”, and some with an additional weft in a soumak technique. Metal brocaded bands patterned with soumak are unusual both in the Viking age and in the later medieval material. The theoretical framework of the study shows that the bands can be interpreted as part of a symbolic funeral outfit. If the bands are used prior to the funeral is not known. The study draws on material from both earlier and later periods to discuss why this dress decor appears in Viking age Scandinavia, and particularly in East Sweden. The fashion of the Frankish crusade era take part in the discussion and so does the tirazsystem of early Islam. The study concludes that understanding Viking age dress is much more than knowing what the persons wore. The symbolic dress in the graves tells us about some kind of fashion – or vestment – system and if we can read the code, we would be a lot closer to an understanding about the Scandinavian mentality of the time. This however is a task for a larger study, this one has only shown where to start.