Assignment 3: Fibres

Burn Testing: A Dangerous Occupation

Luckily, I came prepared:

Indulged my inner pyro:

Cotton

Jute

Sheep Wool

Dog Hair

Mohair

Mystery Fibre

  

Evidence: 

Results

Fibre	Catch light easily?	Sustain flame?	Smells like burning...	Residue
cotton	yes	yes	marshmallows	none
jute	yes	strong even in breeze, smouldered aggressively after flame extinguished	wood	grey, silky, fragile
wool	no	no	meat	black, crumbly
dog hair	no	no	meat	“
mohair 85%, 15% acrylic	no	no	meat	“
polyamide (nylon)	slow	yes, durable in breeze	meaty plastic	sticky until cold, black, shiny, brittle
acrylic	yes	yes, travelled quickly	plastic	“
acrylic 91%, rayon 9%	yes	yes, aggressive when travelling up yarn	plastic	“
unknown (product tag tie)	yes	yes	plastic	yarn too fine to leave enough residue to evaluate
unknown (blind cord)	no	yes, vigorous when sheltered	sour plastic	sticky until cold, brown and black, shiny, hard

The tag tie behaved very much like the acrylic yarns.  The blind cord was unique; it must have been a fibre or blend that I haven't tested.  I wonder if it was polypropylene?

How might these yarns be used?

Cotton: makes nearly non-stretch woven and crocheted fabrics; knitted, it stretches a lot, especially on the bias and on ribbed features such as cuffs, neck and waistband. It has no recovery until washed in hot water or put through the dryer. It is easy to wash and dry, but will shrink on first washing.  Doesn't require ironing (in this weight of yarn) and is very durable, but it stains easily and fades. Moulds if put away damp. Cold when damp. This type of cotton yarn is best used for craft items, utility pieces such as bags and mats, and informal clothing such as pullovers and slippers. Not warm enough to use for protective winter wear.

Jute: is also non stretch, but it is very coarse and rough, not suitable for garments or items such as bag straps that will be in contact with skin.  Mildews if left damp, but it tends to shed so it is typically not washed. Not strong enough to be used where safety is a concern as it frays easily.  Useful for rustic decorative items and gardening.

Wool: makes a naturally stretchy and resilient knit and a stable woven.  If not labelled superwash, it requires standard wool-washing procedures but not an unreasonable amount of care.  Naturally a little moisture resistant, wool is not as likely as cotton to be stained, but stains are possible. Does not need to be washed often, but must be shaken and well aired before storing.  Should be properly cleaned and dried before long term storage. Should be stored with moth prevention. Colourfast. Can wrinkle, but these are easy to steam out. Warm when damp. This yarn would be fine for handknitted items; it is also an appropriate weight for a hand-operated knitting machine. Suitable for garments and textile art.

Mo (angora goat): very slippery fibre that needs to be spun with a binder to keep it together.  Can felt very easily, so requires cautious washing.  Colourfast. Tends to shed hairs almost as much as the dog! Can be knit, woven or felted. Produces fluffy fabrics that are very warm for their weight.  Useful for people with chronic pain who find the weight of winter clothing a problem. Takes colour almost as brilliantly as silk so it tends to be prized by textile artists.  Handles well on a knitting machine.

Dog: less stretchy and resilient than wool; produces a slacker fabric that has less body. Requires more caution in washing than wool. Colourfast. May itch or produce allergic reactions in some wearers. Suitable for knits or wovens, but I didn't have more than four inches of yarn from my dog, and half of it is burnt now, so...

Polyamide and acrylic: these particular examples are all slippery, droopy yarns with little body.  They will produce slippery, droopy fabrics, although most acrylic yarns sold in stores are different in character, having been produced to imitate wool.  They are machine washable and dryable with moderate heat, but should not be ironed.  Ironing is unlikely to be necessary because they don't hold a crease. Stain resistant and colourfast. Bought to do projects at other people's request, I have little interest in using them myself as I usually prefer natural fibres to work with.

Helpful Resources

Melville, S. (n.d.). Techniques every knitter should know (online video course). Retrieved from
http://www.craftsy.com/class/essential-techniques-every-knitter-should-know/3997?_ct=sbqii-sqjuweho-qbb&_ctp=3997,1

Parkes, C. (n.d.). Know your yarn (online video course). Retrieved from
http://www.craftsy.com/class/know-your-yarn-choose-the-perfect-yarn-every-time/3909?_ct=sbqii-sqjuweho-qbb&_ctp=3909,23

Werker, K. (n.d.). Crochet basics and beyond (online video course).  Retrieved from
http://www.craftsy.com/class/crochet-basics-and-beyond/4728?_ct=sbqii-sqjuweho-dum&_ctp=2

How to clean wool. (n.d.). Retrieved from
http://www.howtocleanstuff.net/how-to-clean-wool/

Stain removal. (n.d.). Vancouver, BC: David Suzuki Foundation.  Retrieved from       http://www.davidsuzuki.org/publications/downloads/2012/qog-stainremoval.pdf

Assignment 7: Basic Sewing

For this assignment I decided to modify a long-sleeved t-shirt that didn't fit well.  I wanted to turn it into a playful tunic: asymmetrical, stripy, with a bit of black and white Tim Burton flavour.

Step 1: Gather the tools and materials.

One ill-fitting t-shirt.

Various black, white and grey Jersey knits in appropriate weights and with similar drape; tulle, mesh and lace, ribbon and trim. Oh, and thread!

And these, dammit.








Step 2: Take the side seams and sleeves apart.  Use the sleeves to make a pattern for the sleeve cap for the new sleeves, but modify the rest of the sleeve to make a longer, looser sleeve, more open at the wrist.

Step 3: Make a pattern for the gore to be inserted into the side seam to allow the tunic to flare.  Didn't take a picture of that because I was in The Zone.

Step 4: Play with combinations of fabrics, overlays and trims until I find something that I think will work.  I wanted to the tunic to be asymmetrical but balanced in terms of colour and texture, and I wanted it to be longer than the t-shirt, with a hi-lo hem (higher in the front than the back).

 Step 5: Sew sleeve components together then sew shoulder cap in place.

        

Step 6: Adjust length of front and back pieces using flounces. Again, they don't allow you to take photos while in The Zone.

Step 7: Piece together gores.They are each comprised of at least two main pieces plus overlays and embellishments. Grade gore hems to meet new hi-lo hem and insert them into the side seams.

Topstitch seams to ensure all gore seams lie flat against the body. 

Step 8: Find willing model.  Luckily Julie was seized with the need to take her shirt off, so I was happy to oblige her with mine.  Couldn't ask for a better poseur!

Useful Resources

Colgrove, D. (2006). Teach yourself visually sewing. Etobicoke, ON: Wiley. 

Fashion Croquis. (n.d.). Retrieved from 

http://www.designersnexus.com/fashion-design-portfolio/fashion-design-croquis-template/

Marte. D. (n.d.). Sewing knits that fit. Retrieved from 

http://www.craftsy.com/class/sewing-knits-that-fit/3926?_ct=iuqhsx-kdyluhiqb-huikbj-sekhiu&_ctp=3926

Assignment 4: Textile Structures

Woven Fabrics

Woven fabrics are created by crossing yarns at right angles to each other.  This creates a structure that after washing and finishing (setting) is dimensionally relatively stable horizontally and vertically. Depending on the structure of the weave and whether the yarns used are springy, some stretch can be introduced into wovens. Wovens are naturally somewhat more stretchy on the bias (diagonal), a characteristic that has been used to great advantage in dress design since it was pioneered by designer Madeleine Vionnet in the 1930s.

Here are some examples of woven fabrics.  All photos by the author.

 Andean tapestry.

 Brocade for upholstery.

Herringbone twill.  Wool.  Coat weight.

Carved velvet.  Cotton.

 Taffeta.

 Tartan 2 X 2 twill.  Wool.  Kilt weight.

 Terry cloth.  Cotton.

Warp faced weave.  Wool blend.  Light suit weight.

Window screen.  Fibreglass.

The type of fibre, construction of the yarns (ply, spin, etc.), weight of yarns, weave pattern and density, and finishing techniques such as fulling or glazing all affect the way a woven fabric will behave in terms of handling, stretch, drape, breathability, heat retention and even cleaning requirements or restrictions.  These considerations influence which fabrics can be used for which purposes.  A heavy, tight weave such as 16 oz. cotton duck is suitable for applications where the fabric's rigidity is useful, such as with luggage, hammocks, utility upholstery and even shoes and artwork.  A fine, light fabric such as cotton lawn is suited to highly detailed and refined garment construction techniques that demonstrate the skill of the designer and seamstress.  The finer the fabric, the more it will be able to follow the complex contours of the human body, but this must be balanced with practicality and durability as finer fabrics are more prone to tearing and wearing through.

In addition to the usual fibres, high tech fibres are being used in woven materials to address specific challenges. For example, fibreglass and carbon fibre have many familiar uses, silver is used for electromagnetic sheilding, Nomex is used for fire resistance, Kevlar for puncture resistance and Twaron for impact resistance.

Knits

Knit fabrics are constructed with interlocking loops. Crochet fabrics are considered knits.  The yarn within a knit remains much more mobile than the yarn in a woven and this creates a fabric that is both looser and stretchier than is possible with weaving. It is not possible to knit a fabric that is as tight as the tightest wovens. Knits are generally much more drapey than wovens, with lighter knits being the drapiest.  Whereas wovens fray when cut, many knits tend to unravel or run, or the edges roll up dramatically.  This necessitates special seam finishes such as serging or taping.

Here are some examples of knit fabrics.  All photos by the author.

 Stockinette and 2 X 2 rib.  Wool.  Lightly felted.

 Knit mesh.  Nylon.

 Fair Isle.  Wool acrylic blend.

 1 X 1 rib.  Cotton.

Athletic jersey.  Polyester.

Polar fleece.  Recycled polyethylene terephthalate (PET).

Knits are ideally suited to clothing, especially where stretch and comfort are desired.  Because of their looser structure they trap more air than wovens made of similar yarns and this makes them more breathable and, paradoxically, more insulating except under the windiest conditions.  Modern fibre technologies have improved the shape retention (memory) of knits, but many still require some care in laundering to retain their desired shape and texture.

Felts

Felts are constructed of interlocking fibres rather than yarns.  In the case of animal hair or wool, friction is used to cause the keratin scales on the hairs to snag and tangle on each other and ratchet up to form a mat. Heat can help the scales to open up, so steam or hot water are often used. Dry felting is accomplished without heat with barbed needles that catch the hairs and drag them against each other. Where plant or synthetic fibre is used adhesives or heat are usually used to help join the fibres together.  Felts are non-fraying, thick, warm and not stretchy.  Other characteristics such as durability, ability to hold a sewn seam or adhesives, deformation under stress, and resistance to friction depend on the fibres and felting techniques used.  A felt made from 70% wool and 30% acrylic retains the best of the characteristics of wool felt while gaining improved dimensional stability and opacity from the acrylic. 

Woven or knit fabrics made of animal hair or wool can be felted as well, but these fabrics often retain some of the characteristics or the original fabric and are usually still considered under their original categories.

Here are some examples of felt fabrics.  All photos by the author.

 Wet felted.  Wool.

Machine felted (white ground and red trim). Wool. Hungarian crewelwork motif in wool.

Wet and needle felted.  Wool.

Machine felted.  Cotton.

Whereas the most familiar use of felt for many people is in crafts, felts serve a great many other purposes. Next to leather and waxed cotton, a dense felt is the most wind-proof natural material available for clothing. The synthetic felt used for making decorations is inexpensive, thin, easy to cut and work with. Fibre artists use wool, mohair, angora, camel and other animal fibres because they felt readily, take dyes beautifully and have various textures and shine. The felt used to line winter boots must be up to 0.5 cm thick, sturdy enough to keep its shape and not wear out.  Medium weight felt may be used in table silencers to protect the surface from heat damage and to quieten the meal; it is also used in upholstery and quilting. Felt up to 1.5 cm thick is used for yurts.  Felt is used in vehicles, industrial machinery and even geotextiles.  For these last purposes it is engineered to exacting specifications.

Rolled and Pressed

Synthetic roll goods can be made by extruding liquid plastic and rolling it flat as it cools, or they can be spun and bonded with heat and pressure. They can be so thin that their thickness is measured in mils (1 mil = 0.0254 mm). They can be imprinted with a texture. Some are bonded to woven or knit fabrics for durability and comfort such as in the case of faux leather. Common uses for these materials which can also be made of wovens include shower curtains, table cloths, dust covers for appliances, barbecue covers, banners, bags and labels.

When choosing these "fabrics" consideration must be given to construction techniques.  Some cannot be sewn; some cannot be glued; some cannot be heat sealed.  Some cannot have stress points such as grommets or buttons.  

Some roll goods are very high tech, designed to solve specific technical problems, for example: Gore-tex provides water proofing with breathability; Smart-fab provides low cost non-fraying, non-shedding disposable fabric for sanitary environments; Mylar reflects radiant heat while being practically weightless and is used to insulate winter wear and oven mitts; Tyvek is wind-proof, water-resistant and practically impossible to tear, used in construction, clothing labels and hazmat suits. 

Here are some examples of rolled or pressed fabrics.  All photos by the author.

 Vinyl.  Embossed.

 Vinyl.  Seams sewn and heat-sealed.

Smart-fab.

Choosing Fabrics

When selecting fabrics for any garment or home decor project there are three aspects to consider other than cost: aesthetics, such as drape and handling qualities; functionality, such as durability, waterproofing or strength; and comfort, such as stretch and softness.  For example, a hat could be made of woven, knit, felt or roll goods, but the purpose of the hat and the needs of the wearer will affect the choice. When there are several possible candidates for a project, bearing these three categories can help in making a decision.  

Useful Resources

Andie. (2014). American felt and craft - the blog.  Retrieved from
http://americanfeltandcraft.wordpress.com/about/

Bryk, N. (2014). How Products are Made. Retrieved from
http://www.madehow.com/Volume-7/Felt.html

Dupont. (2014). Apparel and textiles. Retrieved from
http://www.dupont.com/products-and-services/apparel-textiles.html

Smart-Fab. (n.d.). Retrieved from
http://www.smartfab.com/Homepage

Textile Glossary. (2014). Warwich Mills, Inc. Retrieved from
http://www.warwickmills.com/Roll-Goods.aspx

Assignment 6: Discharging Colour

Discharge Dyeing

I used laundry bleach on dark green 100% cotton broadcloth.  After bleaching and rinsing in plain water the dyed pieces were soaked in a neutralizing solution of potassium metabisulphite (0.1% w/v ).

Direct Application
Glass Pen

Splatter

Apples

Resist
Spray over Peony Leaves

Spray over Yarrow

Capillary Action

Wet before bleaching then folded

Soaked in bleach, rinsed by gradual submersion

This was a successful sampling of various discharge dyeing techniques.  The least effective was the final one: trying to create a graduated bleaching by rinsing the bleach out slowly.  The effect was very subtle.

Useful Resources

Burch, P. (2014). All about hand dyeing. Retrieved from
http://www.pburch.net/dyeing/FAQ/neutralizingdischarge.shtml

Ericson, L. (1997). Dyeing with bleach. Threads 72, 65-69.

Tilton, K. (2013). What I'm creating, making doing... Retrieved from
http://thetiltonstudios.blogspot.ca/search/label/discharge%20with%20stencil