Embroidery

The textile process of embroidery allows a manufacturer to stich a yarn material to a textile in a highly defined geometry [Gries et al, 2007], To begin the process, the pattern is designed to specifications. Then the pattern is brought into specialized embroidery software for punching. A file definition is made and then is then converted into embroidery machine code. There are three commonly used types of embroidery standard embroidery, chain stitch embroidery, and tailored fiber placement. Each of these processes will be further defined. 

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Schiffll machine embroideries 2399 Fabricated textile products, n.e.c. ... 

Perl-mutterpapier, n, naereous paper, -rohr, n, -rohre, /. bead tube (tube filled with glass beads), -sago, m. pearl sago, -salz, n. micro-eosmic salt, -samen, m. seed pearl, -schicht, /. nacreous layer, -schnur, /. string of beads or pearls row of droplets, -seide, /. embroidery silk ardassine, -spat, m, pearl spar (pearly dolomite), -stein, m, perlite adu-laria. -sucht, /. bovine tubereulosis. -weisa, n. pearl white. 

From the farmyard came a scream as long and shrill as any human soul s. Bridget burst into tears, and Anne dropped her embroidery hoop on the floor. 

Jaro, M. (1990), Gold embroidery and fabrics in Europe, Gold Bull. 23, 40-57. 

Nord, A. G. and K. Tronner (2000), A note on the analysis of gilded metal embroidery threads, Stud. Conserv. 45(4), 27A-279. 

The one on the chair between their two stools was obviously the great person I had been brought to meet, donna Alina Orio, widow of the murdered Gentile Mchiel and mother of his infamous killer. She held an embroidery hoop rather too far from her nose. 

She handed the youth her embroidery to put away and clasped her hands together on her lap. They were more timeworn than her face, and the gesture revealed inner tensions that her expression never would. 

Often defined as a small square of absorbent linen entirely surrounded by waterproof embroidery. 

Arata s method, ioo c.c. of the wine are gently boiled in a flask to about one-third of its volume, 2 -4 c.c. of 10% hydrochloric acid and about half a gram of carefully defatted (with ether) white embroidery wool being then added and the boiling continued for 5 minutes. 

I sympathize with embroidery being stitched hurts. I kept my mind off the pain and my undignified posture by trying to answer all the questions and explain what had happened without saying everything I was thinking. Who had reason to want me dead The poisoner. Why Because I knew his face. How did he know he had reason to want me dead Because his demon had told him so. How had his bravos known I was in the church Same answer. 

Lint from clothes dryers (papier-mache pulp can also be used) kitchen blender transparent or masking tape animal hide glue embroidery hoops thinly woven fabric trays slightly larger than embroidery hoop NaCIO (5% sodium hypochlorite solution bleach) 250 ml beaker red and blue litmus paper watercolor paint prepared in Activity 2.5 commercial watercolor paint paintbrushes mixing trays water containers centigram balance hot plate watch glass. 

Stretch thinly woven fabric over an embroidery hoop and dip the hoop into the tray, spreading the mixture evenly over the cloth. 

In Activity 3.4, paper is made in a basic solution. For paper in which wood fibers are used, NaOH (sodium hydroxide) can make the pulp mixture basic by providing an excess of OH" ions. The NaOH breaks down cellulose fibers in the wood and other plant materials that form the primary paper structure. A suspension of these fibers can be placed on fabric on an embroidery hoop. Also, CIO- ions can act as oxidizing agents in the basic solution. Finally, KA1(S04)2 12H20 (potassium aluminum sulfate Alum) is added to the cellulose fibers to coagulate the pulp (clay is added when it is not naturally present). The aluminum ion (Al3+) helps the clay loosely bond to the cellulose fibers so that the resulting paper is dense and smooth. 

Linen textiles made from flax fibers have been known and used by mankind since antiquity (1 ). Flax has been used in many textile constructions including fine linen fabrics, laces, embroideries, and bridal fashions, and many historic linen textiles have become part of permanent museum collections. Older linen fabrics and laces are prized for their natural creamy color and luster and often have been recycled and reused. However, little is known about natural aging of linen. Most aging studies for cellulosics such as linen have involved accelerated heat-induced aging. 

Cotton fabrics were often used as the basis for needlepoint, embroidery, and other stitched arts. Cotton canvas has been used for paintings. 

Textiles, as are many objects of art, are subject to the deteriorative effects of dirt, acidity, light, humidity, and mishandling. The steps by which they are conserved are detailed, including a discussion of the problems inherent in their restoration. The use of the vacuum hot table—a recent technique—is exemplified in the treatment of embroideries and two Civil War flags, and the use of adhesives is discussed in regard to this technique. 

An embroidery with very high tension is not a suitable problem for the vacuum hot table. The vacuum causes the piece to become absolutely flat and will make permanent creases and transform the puckers into creases. This does not apply to all embroideries, however. I have successfully done some on the vacuum hot table. 

It often has been asked if abrasion occurs on historic rugs with the traffic of guests, guides, and staff walking on top of the runners. The problem of abrasion is reduced greatly but not eliminated. However, without protection, fine pile or embroidered surfaces will be destroyed completely if constantly walked on, as is illustrated by this example of an English needlework carpet with the wool embroidery completely worn... 

Among 19th-century silks, Chinese robes and silk embroideries are popular collectors items. Far Eastern silks have often survived export, rev-... 

The spray test is one of the most commonly used tests for fabrics and nonwoven products. The test material is held tightly on an embroidery hoop and mounted at a 45° angle to the horizontal and 15 cm below a spray nozzle. The fabric is sprayed with 250 ml. of water. The degree of repeUency is rated by comparing the sprayed fabric or nonwoven with pictures on a standard chart (AATCC Test Method 22 (7) INDA Standard Test 80.1-92 (40)). DurabUity of the finish to dry cleaning can be evaluated by first cleaning the fabric according to AATCC Method 86 (14). 

Interaction in the form of a perpendicular interlacing of two yarn systems confirms the presence of woven structures. No selvage was observed thus the warp system could not be distinguished from the weft system. Both curvilinear and zig-zag trajectories of certain yarns with respect to the interlacing systems were recorded. These may or may not indicate surface decoration in the form of embroidery. 

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